July 2011 | No. 111 Your FREE Guide to the NYC Scene nycjazzrecord.com Souvenir of Benny

Freddy Cole • • psi Records • Event Calendar

Is it getting hot around here? The usual East Coast jump from chilly post-winter to scorching full summer (otherwise known as spring - guess it really can hang @Night you up the most) has occurred, buoyed by last month’s slew of festivals. A nice 4 perk to summer in the city is how jazz gets to come out of the basements and dark rooms and get some sun, not to mention larger-than-usual crowds. There are Interview: Freddy Cole shows in various parks and the city’s open spaces this month; check our Event 6 by Andrew Vélez Calendar for places to tan while soaking up some jazz. But jazz is still an indoor, night-time music. Our Coverage this month will Artist Feature: Zeena Parkins take you all around the city. The late Benny Carter (On The Cover) was a legendary 7 by Kurt Gottschalk musician and and will be fêted at the annual Jazz in July celebration at 92nd Street Y. We have canvassed a number of his colleagues for remembrances of On The Cover: Benny Carter this giant. Vocalist/pianist Freddy Cole (Interview) is long out of the shadow of 9 by Alex Henderson his brother, releasing regularly and appearing to great acclaim all over the world, including this month. Zeena Parkins (Artist Profile) is part of Encore: Lest We Forget: a ‘long’ line of harp improvisers and works in all number of creative environments; 10 Juini Booth John Jenkins this month she is at Blue Note and The Stone with different groups. by Sean O’Connell by Donald Elfman In between using this gazette as a sunhat or a fan or a decoration to that spiffy sand castle, take a gander at the rest of our features: an Encore on bassist Juini Megaphone VOXNews Booth, Lest We Forget on John Jenkins, Megaphone by and Label 11 by Ken Vandermark by Suzanne Lorge Profile on saxist ’s psi Records. We also continue the season of Festival Reports with missives from Canada (FIMAV), Germany (Moers) and right here Label Spotlight: Listen Up!: (Vision). And at this point, we surely don’t need to remind you about the CD 12 psi Records Matt Mitchell Reviews and packed Event Calendar, indoors and out. by Stuart Broomer & Ben Stapp Summer in the city is about a lot more than gritty necks. It’s about seeing jazz in shorts, skirts, tanktops, sundresses, flipflops, the temperature of the city rising Festival Report: FIMAV • Vision • Moers to equal the heat of the music. Yowza, where’s the iced tea? 13 We’ll see you out there...

CD Reviews: , , Gerald Clayton, Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director 14 Thomas Heberer, Ari Hoenig, , Ken Vandermark and more Benny Carter (Photograph © 1994 Jack Vartoogian/FrontRowPhotos.) 36 Event Calendar On the cover: In Correction: In last month’s Cover story on , the recording Club Directory year for her Red Earth was missing in the Recommended Listening; it was 41 recorded in 2006. In the Artist Profile, David S. Ware was mistakenly said to have had liver failure and an eventual transplant; it was actually his kidneys. Miscellany: In Memoriam • Birthdays • On This Day 43 Submit Letters to the Editor by emailing [email protected] US Subscription rates: 12 issues, $30 (International: 12 issues, $40) For subscription assistance, send check, cash or money order to the address below or email [email protected].

The Jazz Record www.nycjazzrecord.com Managing Editor: Laurence Donohue-Greene To Contact: Editorial Director & Production: Andrey Henkin The New York City Jazz Record Staff Writers 116 Pinehurst Avenue, Ste. J41 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Thomas Conrad, New York, NY 10033 Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan, Kurt Gottschalk, Tom Greenland, Laurel Gross, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Suzanne Lorge, Laurence Donohue-Greene: Wilbur MacKenzie, Gordon Marshall, Marc Medwin, Russ Musto, Joel Roberts, [email protected] John Sharpe, Elliott Simon, Jeff Stockton, Celeste Sunderland, Andrew Vélez, Ken Waxman Andrey Henkin: [email protected] Contributing Writers General Inquiries: [email protected] Duck Baker, Mike Chamberlain, Anders Griffen, George Kanzler, Advertising: [email protected] Matthew Miller, Sean O’Connell, Francie Scanlon, Ken Vandermark Editorial: [email protected] Contributing Photographers Calendar: [email protected] Lena Adasheva, Jim Anness, Salvatore Corso, Scott Friedlander, Peter Gannushkin, Martin Morissette, Alan Nahigian, Susan O’Connor

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THE NEW YORK CITY JAZZ RECORD | July 2011 3 NEW YORK @ NIGHT

There is something immediately gripping about the The summer edition of the Festival of New speed, grace and unerring touch of Warren Wolf at the Music (FONT) was stripped down to a mere three vibraphone. Clearly this isn’t lost on , nights, but opened fittingly enough with a memorial Christian McBride, Jeremy Pelt, Willie Jones III and concert for trumpet innovator Bill Dixon. The concert others who’ve hired the young Baltimore native and - held Jun. 3rd, just 13 days before the first anniversary new Mack Avenue Records signee. That Wolf also plays of his passing, at the Rubin Museum of Art in Chelsea piano and drums on a high level - as documented on - featured a sextet of musicians who had worked with his recent self-release Warren “Chano Pozo” Wolf - the master, appropriately including a quartet of makes him an even more unusual find. Keeping strictly trumpeters. It was the brass (, Stanton to vibes at Jazz Standard (Jun. 9th), Wolf brought on Davis, Stephen Haynes and Wadada Leo Smith) that board pianist Lawrence Fields, bassist Eric Wheeler opened the show with a quartet improv before the full (subbing for Kris Funn) and drummer John Lamkin for band played Bynum’s “That Which Only You Could an inspired one-nighter. The second set commenced Do”, named for a Dixon instruction for improvising. with the midtempo “Soul Sister”, gliding and funky in Davis introduced his gentle bop piece “Play Sleep”, a ’70s McCoy Tyner vein. Wolf continued with “Para which he played with the rhythm section (bassist Mejor o Peor” (“for better or worse”), a fine jazz ballad, William Parker and drummer Warren Smith), followed which grew into more of a rock power ballad by the by Bynum’s “Woods”. It was a casually friendly outro. “I Surrender Dear” started at a strutting evening, remembering not just Dixon but time spent in trad-jazz pace and after Wheeler’s three able choruses each other’s bands or playing with George Russell and Wolf delivered the goods: a set of rousing stop-time others. What might have seemed odd about the setlist breaks and a virtuoso cadenza, the set’s defining was actually quite astute: it wasn’t until the final piece moment. Strayhorn and Ellington capped it off: “Lush that they played a Dixon composition and then Life”, initially a vibes/piano duo, led to a breakneck interpolated within an by Haynes. For an “Caravan”, powered by Lamkin’s galloping swing. artist who preached individuality, it only made sense. The first-rate piano solo left one wondering when “When an artist like Bill dies, what do we do?” Haynes Fields will throw his hat in the ring as a leader. No asked the audience, by way of answering the implied grand revelations here, but solid music-making, deep question. “Do we play the pieces? Are there pieces to in the tradition, from a highly promising group. play?” The response was implicit in the music. - David R. Adler - Kurt Gottschalk P h o t : L e n a A n e s A d a s h e v P h o t b y J i m Warren Wolf @ Jazz Standard Bynum, Smith, Davis and Haynes @ Rubin Museum

On Miles Okazaki’s first two recordings, Mirror There isn’t a sound on Earth that could be mistaken (2005) and Generations (2009), the leader’s guitar wasn’t for Peter Brötzmann’s . Too metallic for an the main focus. Rather, it was part of a larger ensemble elephant, too organic for a foghorn, it is the sonic fabric woven by three , bass and drums, equivalent of a comet: you can’t actually hear it, just even vocals on the latter disc. Premiering a third the burn in its wake. Such was the insistent opening of volume of original music, Figurations, at The Jazz an inventive quartet made, as fours are, from a pair of Gallery (Jun, 4th), Okazaki went a different route, twos. Opening his Lifetime Achievement night at the scaling back to a quartet with Miguel Zenón (alto sax), Vision Festival Jun. 8th, stage left was Brötzmann and Thomas Morgan (bass) and Dan Weiss (drums). Here Eric Revis, stage right another horn/bass duo, Joe the guitar was well out in front as a solo voice and McPhee and William Parker. The fact that there is an Okazaki’s tumbling, accelerating, pointedly unstable extraordinary amount of power in his playing goes so phrases seemed to connect with Weiss’ drumming on a completely without saying that that’s all anyone ever molecular level (a function of their work together on says. Such that when he began his duo with Jason Weiss’ Jhaptal Drumset Solo and other projects). Even at Adasiewicz (the second set of the night) the its most austere and highly technical, the music bore vibraphonist banged along with his sticks held traces of , soul, and swing - “Dozens”, the horizontally, striking the metal keys longways. The finale, was based on “” changes. But drummerless quartet and melody-percussion duo Okazaki drew on more obscure systems of information displayed his tunefulness. Of course, saying it doesn’t as well. Included in the printed program were his make it so and the evening ended with a full-on quintet original drawings, mysteriously representing five of fronted by three horns (Brötzmann, Ken Vandermark the six featured compositions, “Mandala”, and ) held steady by the rhythm section “Tesselation”, “Dozens”, “Hive Mind” and ( and Paal Nilssen-Love). Brötzmann “Circulation”. Bold reds and blues in complex ensured a musical structure to the maelstrom, much labyrinthine patterns, against a background of jet like his beloved . He might not have had black: Okazaki’s visual aesthetic certainly opened the the full band play the themes as Ayler did and he may door to a music that could seem baffling and or may not have conceived of the themes in advance rhythmically overstuffed at points. Visit the “Theory” but he played them, repeated them and parsed them. section of milesokazaki.com to see how deep his Busily, methodically, he wrapped a tent around a imagination goes. (DA) thunderstorm. (KG)

4 July 2011 | THE NEW YORK CITY JAZZ RECORD was born in 1956, 1954. But One of the busiest, most recorded musicians in jazz both guitarists have the remarkable ability to play, today, the ubiquitous has spent most of his WHAT’S NEWS almost simultaneously, like musicians both 20 years half-century career as a first-call sideman playing in their junior and senior, strident progressivism mixed the service of others, sadly leaving little time for the with deep blues. The pair performed their debut master drummer to front his own units. Fortunately, Winners of the 2011 Jazz Journalists Association concert at Le Poisson Rouge (Jun. 15th) as a dual the quartet assembled by pianist Ethan Iverson with Jazz Awards have been announced. If you are celebration of the venue’s third anniversary and their saxophonist Mark Turner and bassist Ben Street that looking for a surprise, go buy a box of Cracker Jack recent DownBeat cover story. Even if Ribot has a Hart presently leads has seen enough action during the (with the one exception being ’s dethroning Greenwich Village folksy vibe to him, in contrast with last decade to have developed into one of the tightest, of Maria Schneider as Arranger of the Year after she Cline’s surfer-rock looks, they are actually two coils of most exciting bands currently operating. Despite its had won the award eight years running!). After an the same humbucker. They’ve had pop gigs - Tom standard instrumentation, the group is anything but encouraging roster of awardees in 2010, this year’s Waits (Ribot) and (Cline) - that belie some of typical in its approach to performance, thriving on a crop of winners is a great disappointment. There is their more avant garde work as leaders and sidemen sense of drama fueled by a constantly evolving no need to single out any entities we feel did or did for an array of national talent. But at the concert, they dynamic, which eschews complacency in favor of an not deserve their award; in a bit of Orwellian eased slowly into the bombast the capacity crowd was unrelenting quest for the sound of surprise. Beginning semantics, some just deserved to win more. The real expecting, beginning on a pair of acoustic guitars for its Friday night second set at the Village Vanguard issue at stake is the validity of such awards. If one pastoral, Americana-type musings, delicate at the (Jun. 10th) with a dark bass and sprawling drums accepts that the Grammys - especially with their outset but quickly, almost fatalistically, devolving into preamble casting an ominous air over the room, the recent contraction - are not an accurate reflection of harsh atonal strums and careening single-note lines. group eased into the march-like melody of Iverson’s the jazz world at large, the community needs Most of the music seemed improvised, with the “Mellow B”, Turner displaying his expansive range something like the Jazz Journalists Association Jazz exception of a blues (featuring drowsy vocals by Ribot) and meticulous tonal control as he harmonized with Awards to single out special achievement. But with and a take on the jazz standard “Easy Living”. Some of the composer’s piano. The foursome worked out on such authority comes responsibility. Voting rates are the most interesting moments in the arc of the concert “Conception”, Hart driving his young bandmates at a relatively low and many people are simply not came when Ribot switched to electric, matched by an fierce tempo, then smoothly switching gears for his qualified to choose the best of the year in most effected lap steel from Cline, Americana seen through beautiful “Charvez”. The whistling prelude to the categories, whether it be through ignorance, the lens of the Cold War of their early youth. By the leader’s “Children’s March” confirmed the group’s negligence or personal agenda. This is a microcosm end, Cline picked up his Jazzmaster and stood to wax penchant for the unexpected, which persisted through of the entire democratic process. Without an informed Hendrixotic over Ribot’s air-raid intensity. 90 minutes the night as the players interacted seamlessly around and active electorate, you get corrupt and ineffective of guitar history as musical catharsis. - Andrey Henkin Hart’s powerful, virtuosic drumming. - Russ Musto government or skewed jazz awards. The voting bloc should understand and accept the significance of their voice or else forego their right to vote lest these awards lose even more meaning. Still, we congratulate all the winners and nominees. For the complete list of 2011 winners, visit jjajazzawards.org. It has been reported that altoist suffered a subdural hematoma while on tour in Australia and had to cancel his immediate appearances, including at the Melbourne International Jazz Festival. The Photo by Scott Friedlander 83-year-old had successful surgery and we wish him a speedy recovery. The Library of Congress has launched the National Jukebox in partnership with Sony Music Entertainment. A massive collection of historical recordings produced in the US between 1901-25 is

Photo by Peter Gannushkin/DOWNTOWNMUSIC.NET available for listening free of charge, the entirety of Nels Cline & Marc Ribot @ Le Poisson Rouge Billy Hart Quartet @ Village Vanguard Sony’s pre-1925 catalogue including 1,000s of recordings produced by , OKeh, The spirit of this column is to present New York’s The all-too-rare appearance of the Wadada Leo Smith and Victor Talking Machine Co. and others. Highlights unique position in the jazz world; the city is an Golden Quartet at Le Poisson Rouge (June 5th) as part include recordings by , Al Jolson embarrassment of riches on any given night. One such of last month’s Festival of New Trumpet Music (FONT), and Paul Whiteman Orchestra. For more information moment happened at Cornelia Street Café Jun. 1st with reaffirmed the importance of the semi-annual event in or to peruse the collection, visit loc.gov/jukebox. the premiere performance of Sifter, the cooperative presenting to local audiences important music that trio of cornetist Kirk Knuffke, guitarist might otherwise remain unheard. The New York As part of a “Drummers Week” on the David and drummer Matt Wilson. A first-time ensemble but premiere of Smith’s Freedom Summer, part of a longer Letterman Show last month (which included Sheila hardly between unfamiliars; Knuffke is a key member work inspired by the Civil Rights movement, featuring E and Rush’s Neil Peart), jazz legend and NEA Jazz of Wilson’s quartet and subs in Halvorson’s quintet. the latest edition of the composer’s allstar band - Master was invited to play on the late- For the first set of this unusual instrumental ensemble Angelica Sanchez (piano), John Lindberg (bass) and night talk show, a rare instance of jazz on mainstream - almost a subset of old trad-jazz bands - all three Pheeroan akLaff (drums) - proved to be one of the broadcast television. Maybe next Jay Leno will members wrote pieces. And though Wilson is a few highlights of the three-day celebration. Smith, whose devote an episode to bass clarinetists. generations older, it was his playing that sounded the attentiveness to sound and space has been the hallmark youngest and most exuberant, easily coloring the of his music for decades, has in recent years shown a An online petition is circulating by the Justice for fractured, effected musings of Halvorson and Knuffke’s powerful stylistic allegiance to ’ similarly Jazz Artists! organization. Its platform is to provide a stately cry. But it was the second set that embodies driven approach. The plaintive tone of the trumpeter’s “safety net” for New York performing jazz musicians. why New York is so special. A tall guest was in the muted horn on the opening “Brown vs. Board of Legislation was passed in 2007 exempting clubs audience, Danish saxophone legend John Tchicai, in Education” clearly identified him as one of the iconic from paying sales tax on admission charges, with the town for the upcoming Vision Festival. The trio invited brassman’s most noteworthy successors while the intent that the money saved would go to pension and him up for a short-but-satisfying set played to a small- piece’s brilliantly intriguing construction unmistakably health care funds for musicians. According to the but-spellbound crowd. Tchicai, a pioneer on two marked him as one of contemporary music’s most organization, no substantive progress has been continents, is an outsized personality, both literally important . Weaving his clarion sound made towards the establishment of such funds since and musically, and he pushed the trio into anarchic (which often took on an electrified character despite then. The effort is being spearheaded by Local 802, realms for a single, probing improvisation. Wilson the absence of electronic alteration) within the vibrant the Musicians Union. For more information, visit seemed to have more fun than usual punctuating tapestry of his colleagues’ distinctive voices, there was justiceforjazzartists.org. Tchicai’s wails while Halvorson sweep-picked alien an ever-rewarding atmosphere of tension and release chords, Knuffke adding doleful commentary. Tchicai’s as the band evoked the spirit of a gladly bygone era on spontaneous chant summed it up: “Anything can the suite’s songs: “Freedom Summers”, “Little Rock Submit news to [email protected] happen, one second to the next.” (AH) Nine” and “Rosa Parks”. (RM)

THE NEW YORK CITY JAZZ RECORD | July 2011 5 INTERVIEW

like Beefsteak Charlie’s and others where every day you would see somebody. ...And the . You had songwriters coming down there that didn’t know how to write out the music and you could write Freddy it out for them. And boom! They would put lyrics to it and run to the publisher to try to get it recorded.

TNYCJR: It was a different community.

FC: It was. And fortunately I was able to bridge the Cole gap between R&B people and jazz folks. You had to be able to do both because they came right there and put

e C o r s it on your platter. (CONTINUED ON PAGE 35)

P h o t b y S a l v r by Andrew Vélez

Singer/pianist Lionel Frederick Cole, born Oct. 15th, 1931, something, then you know it all over the piano.” And better known as Freddy, was the youngest of five children. that never left me. He grew up in a family in which “music was all around.” All three of his older brothers, Eddie, Ike and most TNYCJR: I’m not sure that we learn anything except famously Nat, were musicians. According to veteran record through experience. producer/club proprietor Todd Barkan, who’s known Cole for over 30 years, “Freddy is the great poet laureate of song. FC: Right, right. I’ve learned a wealth of things just His depth of feeling and his abilities as a compelling learning how to be a good listener. I just told my son, storyteller are his greatest skills. He is a grandmaster who is a very fine musician... He flew in from Los storyteller in song.” Later this summer, Cole will release Angeles. He’s on the way to Nashville to do something Talk To Me, his seventh album for the HighNote label. there. I told him, just remember what I told you, be a good listener. He sings, he writes, he arranges. In fact I The New York City Jazz Record: Your singing voice is just recorded one of his tunes on this date I finished. so different than your speaking voice. The song is called “After All These Years”.

Freddy Cole: (Chuckling) I never thought about it that TNYCJR: Tell me some about the names you didn’t much. When you are singing you have a lot of help. think that much about when you were little. When you’re talking you’re just on your own. FC: I really gained the utmost respect for them after I TNYCJR: You came from a family in which four of the got to where I would know about music. Basie would children turned out to be musicians. always mess with me and tell me a joke. Duke was the same all the time. Elegant and he spoke great English. FC: The music comes from my mother’s side of the He was just a wonderful man. JULY 2011 family I guess. She played piano and was a choir director in my father’s church. My dad was a Baptist TNYCJR: You recorded a tribute to JAZZ VESPERS minister. There was music at the church and there was (Freddy Cole Sings Mr. B, HighNote, 2010). Sundays at 5:00 P.M. — All Are Welcome — Free always music in our house. ...I guess you could say 3 — Dingman/Schonig Quartet that I was blessed to be brought up in those FC: Yeah, that was my man. B was an extraordinary circumstances with music in and around me. Being guy. He and my brother were very tight. Of course 10 — Rob Scheps Core-tet young it didn’t really make a dent in my brain until I everybody had the Mister B shirt collars. They played got to be a grown man. ...Some of the great people that him so much on the Chicago jukeboxes and you’d be 17 — Dave Cook Trio others would be in awe of... I just saw them and they walking down the street and [hear] “Jelly, Jelly, Jelly”. used to call me “Little Cole”. [Drummer] Osie Johnson, And he did “I Apologize”. All those songs. Talent-wise 24 — Group he was one of the ones who started it. They were you couldn’t argue with it. He truly was a balladeer. 31 — Jamie Reynolds Trio persons that really looked after me when I was going ...[For that CD] the hard part was narrowing them to Juilliard and I was out on the New York streets... You down until we had 10 or 12 songs because he did so JAZZ ON THE PLAZA know [drummer] Sonny Greer; I would have to say much. And he was so musical that people just really Thursdays at 12:30 P.M. — Outdoor Concerts — Free Sonny would be on my case more than any of the other didn’t realize. He played trumpet and he would diddle ones. He kept me on the straight and narrow. If they around on the guitar. He was my man. I just loved him. 7 — Mike Moreno (guitar) Ensemble saw me doing something, they’d pull my coat to it. They were very helpful to me about temperament and TNYCJR: What about piano influences? ? 14 — Jonathan Batiste (piano) Band about doing what you got to do to keep on moving. ? 21 — Akiko Tsurugo (organ) Quartet

TNYCJR: Ahmad Jamal said he doesn’t see as much FC: Teddy more so than Oscar. I never could play like 28 — Anat Cohen Ensemble mentoring by older musicians going on as when he Oscar. Boy, he was a monster! He was a great guy too. was coming up and what a difference it made. Teddy Wilson had that finesse that I tried to learn. Also MIDTOWN JAZZ AT MIDDAY . He was my favorite. Sponsored by Midtown Arts Common Wednesdays at 1:00 P.M. — Suggested Donation: $10 FC: Oh, yeah, it does. I recall so many times those guys would help you. ...A saxophone player in Chicago, TNYCJR: You lived in New York when you were a very 6 — (piano) Swing Lee, a friend of my brothers and all. I was 17, 18 young guy in the ‘50s. Hide Tanaka (bass) years old. I had a gig with him and he was going to give me a solo on “Talk of the Town”. And I got to the FC: New York was really happening at that time. There 13 — Aaron Weinstein (violin) gig, man, was waiting to SHINE with this solo. I were a host of places to play, all kinds of things to do. Tedd Firth (piano) practiced all day. And he got there and he called That’s why I say when those guys threw up a red flag another key on me. (Laughing) Well man, I was on me and pulled my coat on the dos and don’ts... For 20 — Bucky Pizzarelli (guitar) devastated. I fumbled. After the set he called me over instance [singer] Babs Gonzales, through Babs I met Ed Laub (guitar) and said, “I know you’re upset. But I did that for a James Moody and I met so many people. ...You would 27 — Roseanna Vitro (singer) reason. Suppose you were playing with a singer who go to hear other people and you tried to learn. Mark Soskin (piano) sang in another key. When you tell me you know Nowadays musicians don’t have places to congregate

6 July 2011 | THE NEW YORK CITY JAZZ RECORD Junior Mance (piano) Hide Tanaka (bass)

Aaron Weinstein (violin) Tedd Firth (piano)

Bucky Pizzarelli (guitar) Ed Laub (guitar)

Roseanna Vitro (singer) Mark Soskin (piano)

ARTIST FEATURE

For more information, visit zeenaparkins.com. Parkins is at Blue Note Jul. 1st as part of the Spontaneous Construction series and Zeena The Stone Jul. 30th solo and with . See Calendar. Recommended Listening: • - The Bribe (Tzadik, 1986) • /Zeena Parkins - Psycho-Acoustic (Victo, 1994) • Zeena Parkins - Moth=Maul=Betrayer (Tzadik, 1995-96) • Nels Cline - (Cryptogramophone, 1999) Parkins • Phantom Orchard (Zeena Parkins/) - Orra (Tzadik, 2007) • Zeena Parkins - Between The Whiles (Table of Elements, 2010)

P h o t b y M a r i n s e by Kurt Gottschalk

The fact that harpist Zeena Parkins was able to tunable.” A couple of years later it was remodeled with premiere her new band - Zeena and the Adorables - at the assistance of another collaborator, Doug Henderson. Quebec’s Festival Internationale de Musique Actuelle More recently - after a high-profile stint with the singer de Victoriaville on May 21st, nine days after the group Björk - she had a third model constructed, as well as played ’s Issue Project Room, says something buying a beautiful full concert harp. about her career as both a composer and improviser. While the harp has become her trademark, it’s not While the New York show was the first gig by the trio, her only instrument. The native completed their Victo show was the first time they played the some coursework in piano performance at the material she’d written for the band publicly. University of , but left before graduating. (“I That bit of temporal sleight of hand reflects the knew I wasn’t going to be a concert pianist and I felt parallel paths of her work: A noted member of the like my world was just getting smaller,” she said.) She ‘Downtown’ scene since she moved to New York in transferred to Bard where she discovered experimental 1984, Parkins has been composing for dance companies film, something that would later influence her own for about as long. The two orbits have rarely crossed in music-making. But it was after a move to England that the past, but now - in Parkins’ greatest stake as a she picked up the accordion and started thinking about bandleader to date - the worlds are vibrantly colliding. spontaneous performance. JSjuly11 6/20/11 1:18 PM Page 1 The music the Adorables (which includes percussionist “When I landed in New York in the mid ’80s I had Shayna Dunkelman and electronicist Preshish this perfect skill set,” she said. “I had played in a circus Moments) played at the Victoriaville festival in fact in where I learned the accordion. I played began as music for dance, commissioned by piano and I played harp so I got to play with a lot of choreographer Neil Greenberg for his piece Like a Vase people and my associations in the dance community and performed live at Dance Theater Workshop in started right away.” Parkins speaks with a genuine November 2010. Parkins called on two students she’d humility about those early days and about being “Jazz Venue of the Year” ALL ABOUT JAZZ-NY # “Best Jazz Club” NY MAGAZINE & CITYSEARCH THU-SUN JUNE 30-JULY 3 met while teaching at who had, invited to work with musicians she admired, but that coincidentally, moved to an apartment around the path led to higher profile work and, perhaps GERALD CLAYTON TRIO JOE SANDERS - JUSTIN BROWN MON JULY 4 CLOSED FOR INDEPENDENCE DAY HOLIDAY corner from her in Greenpoint, Brooklyn, to play the unexpectedly, back to academia. Time spent at Mills TUE JULY 5 WED JULY 6 score live and a band was born. College in led to her subsequently taking DARIO BOENTE OSMANY PAREDES Working with dance companies is a common over courses for turntablist Marina Rosenfeld at Bard. & PROYECTO SUR QUARTET OSCAR FELDMAN - JOHN BENITEZ - DAVID SILLIMAN YUNIOR TERRY - LUDWIG ALFONSO - YUSNIER SANCHEZ avocation among experimental composers in New “I wasn’t a school person,” she said, laughing again. “I THU-SUN JULY 7-10 York, even if the work often goes unnoticed in the mean profoundly not a school person. So when Fred music world - and sometimes by dance audiences as [Frith] asked me to sub for him at Mills, I thought, ‘OK, RENE MARIE KEVIN BALES - RODNEY JORDAN - QUENTIN BAXTER well. But for Parkins, it’s a key part of developing a I really want to do a good job.’ This is a part of my # # MON JULY 11 #MINGUS# MINGUS #MONDAYS# project like the Adorables and working within the artistic process now. When I’m writing my syllabus it’s #MONDAYS# MINGUS ORCHESTRA balance of composer and improviser. While she is no like I’m writing some strange novel. So now I’m really TUE JULY 12 TBA WED JULY 13 doubt best known as the latter, she does several dance excited about it.” JANE BUNNETT & HILARIO DURAN commissions a year and has won three Bessie Awards Another unexpected turn on that path was working THU-SUN JULY 14-17 for composition for dance. That prize has also been with pop superstar Björk, who herself has a strong awarded to such musicians as David Byrne, Anthony interest in performance and . “I Davis and Julius Hemphill. learned a lot about performance with her,” Parkins QUARTET “It’s that dilemma of being known as one thing so said. “Being in a more pop world and learning more - - CHIP WHITE MON JULY 18 #MINGUS# #MINGUS# # # much that people don’t even listen,” she said about the about pop production - that whole relationship to #MONDAYS# MINGUS MONDAYS dual role of the improvising composer. “But to me sound and constructing pieces and having jewels that TUE-WED JULY 19-20 personally I don’t ever need to make that distinction. you can construct around to make a piece - that really ANIMATION JORDAN GHEEN - JACOB SMITH - MATT YOUNG “I’ve always had a lot of fusion and confusion has informed my work since. I feel like I have a way of FEATURING BOB BELDEN & TIM HAGANS between the two and I like that,” she added with a being inside what I’m doing but knowing that there’s THU-SUN JULY 21-24 7:30PM & 9:30PM ONLY laugh. “It never would have been possible without the something that emanates out of it. I really have much dance world. You have months to rehearse and you more of a sense of my performance space and PAT MARTINOJOHN DAVID SIMON - LUCAS BROWN -QUARTET SHAWN HILL # # MON JULY 25 #MINGUS# have multiple performances. It allows you to go where performance energy now.” MINGUS #MONDAYS# #MONDAYS# MINGUS ORCHESTRA you want to go at a fairly deep level.” The influence can be heard in the Adorables TUE JULY 26 Parkins is known for her work with such figures as material. It’s instrumental music, often abstract or ROB DUGUAY’S SONGEVITY Ikue Mori, Elliott Sharp and John Zorn and also for atmospheric, but there’s a pop sensibility running JUSTIN KAUFLIN - NADAV SNIR-ZELNIKER FEATURING ABRAHAM BURTON - NOAH PREMINGER - YVONNE SIMONE redefining the harp as an instrument that can stand up through it - something, Parkins said, she wouldn’t be WED JULY 27 to the electric guitar in volume and malleability. able to develop without a working band. “You can see JOHN BEASLEY QUINTET developed with the late cellist why people like Meredith Monk and Philip Glass have - RASHAWN ROSS - JAMES GENUS - JEFF “TAIN” WATTS THU-SUN JULY 28-31 during her time with him and in the group their own ensembles, because you can work with them Skeleton Crew, her electric harp (closer in size to an and they know the languages,” she said. “When I work FREDDY COLE QUARTET RANDY NAPOLEON - ELIAS BAILEY - CURTIS BOYD PLUS SPECIAL GUEST HARRY ALLEN Irish harp) has undergone a few transformations since with friends, I can really uncover things, which I know the ‘80s. “We just banged that first one together just to I can’t do with two rehearsals and a gig. I can really see if it would work,” she remembered. “It was barely work with them, which I love.” v

THE NEW YORK CITY JAZZ RECORD | July 2011 7 NEW RELEASE THE MUSIC OF BENNY CARTER ON EVENING STAR RECORDS

Deborah Pearl: Souvenir of You – Benny Carter - New Lyrics to Benny : Carter Classics (ES-115) Another Time, “Pearl has taken 13 of Carter’s Another Place (ES-104) compositions, added her own lyrics, A double CD recorded live at the and produced a lovingly-crafted Regattabar, Cambridge, MA, March 1996. collection that’s a worthy addition The Benny Carter Centennial Project (ES-113) to the Carter canon.” “Mutual respect lifts the music --Bruce Lindsay, All About Jazz All-star tribute featuring Carter’s compositions and interpreted by Phil Woods, , Russell Malone, , to even greater heights than one might imagine possible from “…a wonderful mix of melodies Warren Vaché, Randy Sandke, Bill Kirchner and the Benny Carter Trio: Chris Neville, Steve LaSpina and Steve Johns. these two great players.” that are full of joy, some blues, --Russ Chase, IAJRC Journal and even a samba. There is a Includes a piano solo by Carter himself—his last recording. surprise in every track of this 4 1/2 stars -- Ken Dryden, All Music Guide “An instant classic for anyone exquisite, joyous and sometimes interested in the state of the heart-rending project.” “Amazingly, although the players span a range of generations, instruments, jazz saxophone.” --Tim Taylor, Audiophile Audition and styles, everything here sounds so much like Carter’s music that it’s easy to --Larry Hollis, Cadence picture him playing on every track...”--Will Friedwald, NY Sun www.lpb.com/eveningstar www.cdbaby.com ON THE COVER P h o t g r a p © 1 9 4 J c k V

Benny Carter a r t o g i n / F Souvenir of Benny o n t R w P h s . by Alex Henderson

It’s quite ironic that this journalist is writing a cover MusicMasters releases and co-authored the book Benny Los Angeles, where he became one of the first African- story on Benny Carter. In 1994, I was assigned by Jazziz Carter: A Life in American Music, remembers Carter as a Americans to compose and arrange music for to write a cover story on the iconic jazzman, who was bandleader who was anything but egotistical. “You Hollywood studios; television work followed in the 87 at the time. Musicians of that stature usually have hear all these stories about bandleaders who felt ‘50s and ‘60s. “Benny Carter integrated Hollywood publicists or managers who arrange interviews for threatened if one of their sidemen got too much before Jackie Robinson integrated the major leagues of them, but in 1994, Carter preferred to be contacted attention, but Benny Carter was the complete baseball,” Schoenberg notes. directly for interview requests - and when I called his opposite,” Berger explains. “Benny was delighted to Because he was so multifaceted, Carter touched home phone number in Los Angeles, Carter himself feature his sidemen and sometimes promoters would different artists in different ways. Vocalist Mary answered. Although polite, Carter seemed reluctant to say, ‘You should play more.’ And Benny would Stallings has included some of Carter’s songs in her be interviewed and asked me to please give him some respond, ‘Yes, but I have all these great musicians and repertoire and she points out that his work was as time to consider my request. After a few more calls I want them to be heard.’” beneficial for singers as it was for instrumentalists. (Carter answered his phone every time and wasn’t Although media-shy, Carter was hardly a recluse “As a singer, it’s important to me to always screening the calls), it became evident that the or a loner. He loved to hang out with his friends as discover great music - and Benny Carter composed a interview wasn’t going to happen; in 1994, he didn’t much as he loved to surround himself with musicians lot of great music,” asserts Stallings, who is now 70. “I feel that he had anything to tell the media that he of different ages. Jazz historian/tenor saxophonist know what I like and what appeals to me and if it hadn’t already said in the past. But here I am, writing a Loren Schoenberg, who was among Carter’s close touches my soul, I know it’s right. Songs either touch posthumous cover story on Carter years later. friends, remembers him as a great talker who had little me or they don’t; Benny Carter’s songs touched me Carter, who was born in New York City on Aug. patience with conversations he felt were overly deeply. His melodies were so poignant.” 8th, 1907 and passed away on Jul. 12th, 2003 at the age nostalgic. Another singer who has been touched by Carter’s of 95, had one of the longest, most productive careers “Benny didn’t want to talk about the past, which legacy is LA-based Deborah Pearl. Her new album, in the history of jazz; he was a jazzman who emerged was frustrating for people like me who are historically Souvenir of You: New Lyrics to Benny Carter Classics when Calvin Coolidge was president and maintained a oriented,” the 52-year-old Schoenberg notes. “Benny (which released on Evening Star Records, busy schedule during the years. Carter really didn’t want to get into the past beyond a couple the label he founded in 1992 with Carter’s assistance) was especially famous for his distinctive of sentences. But as frustrating as that was, I totally contains 13 Carter songs for which Pearl wrote lyrics. playing, but he was also quite accomplished as a understand it. Benny always lived in the present and She explains that Souvenir of You was inspired not only trumpeter, clarinetist, composer, arranger and future tense. He liked to surround himself with by Carter’s artistry, but also by their friendship. Pearl bandleader. Despite all his achievements, Carter was younger people and the older I get, the more I have the met Carter through his wife Hilma and spent many the opposite of self-aggrandizing; he even turned same proclivity.” hours in their home in the Hollywood Hills. down an offer to host Ken Burns’ Jazz series. And when It isn’t hard to find jazz heavyweights who cite “I think that Benny made a contribution not only Carter’s friends and colleagues remember his life, they Carter as a major influence. Alto sax giant Phil Woods, with the music he left behind, but also with who he remember a man who was as humble as he was who recorded some excellent two-alto albums with was as a person,” Pearl observes. “Whenever I felt sort accomplished. Carter and is now 79, notes: “The first jazz I ever of weird or funky, I would call up and go to Benny’s “Benny had an aversion to self-promotion like few played were transcriptions of Benny Carter solos. I was house and hang out with him and Hilma. Being with people I ever met,” recalls veteran saxophonist Mel 13 years old. When they ask when I heard the first them, everything just sort of felt right with the world. Martin, who played with Carter extensively and was music of Bird, I must give them the word: I worshipped Benny and I connected; I felt like he got me.” among his close friends. “If you hung out with him as Benny Carter. And he was a dear friend until the end.” Carter’s story is one that continues to be told by a friend, it was great. But if you tried to officially Alto saxophonist/clarinetist Hal McKusick, who his many admirers. Eight years to the month after his interview him, he had such an aversion to self- turned 87 on Jun. 1st, says: “I believe Benny Carter death, Carter’s career is still being celebrated with promotion. I used to write for Saxophone Journal and influenced most of us one way or another... I grew up everything from tribute albums, bands and concerts to Jazz Improv and I begged Benny for an interview listening to Carter, Pete Brown, Tab Smith, [Johnny] profiles on jazz-related websites. “Benny was about his numbers of times. But Benny just didn’t want to be Hodges and Lester [Young] mostly. I always admired love of music and his love for Hilma and his love of life interviewed. And when he did agree to be interviewed, Benny for his flawless technique and smooth approach itself,” Pearl stresses. “I think that’s why he remains so it drove the interviewers crazy. They would ask, ‘What to playing jazz - always elegant.” relevant to the human condition.” v was it like playing with Fletcher Henderson in the Another octogenarian who has fond memories of 1920s?’ And Benny would go, ‘Well, it was a gig.’” Carter is 89-year-old tenor/alto saxophonist and flutist For more information, visit bennycarter.com. A Benny The 69-year-old Martin continues: “Benny Carter . “Benny Carter was one of my idols,” Wess Carter Tribute is at 92nd Street Y Jul. 21st with Mary lived through so much jazz history. Here was a guy explains. “Benny was always way ahead of everybody Stallings, Phil Woods and others. See Calendar. who was close to , , Coleman else, even in the 1930s. I became aware of him when I Hawkins and on and on, but he didn’t like to dwell on was about 14 years old. I admired him as a saxophonist; Recommended Listening: it. And I think that in Benny’s mind, that was the secret I admired him as a trumpeter, a composer and a • Benny Carter - Chronological (Vol. 1-11) to him staying youthful.” bandleader. Benny was an all-around great musician (Classics, 1929-1954) The word “youthful” often comes up in connection and he was a very nice man - a very polite man.” • Art Tatum/Benny Carter/Louis Bellson - The Tatum with Carter, whose MusicMasters recordings of the Wess adds, however, that Carter’s politeness Group Masterpieces, Vol. 1 (Clef-Pablo, 1954) ‘80s-90s underscore the fact that even when he was in didn’t prevent him from getting his point across: “I • Benny Carter - Jazz Giant his 80s, his chops hadn’t diminished at all. Jazz critic remember one time when Benny was conducting and (Contemporary OJC-Fantasy, 1957-58) accurately described Carter’s longevity in the players weren’t really in tune. Benny didn’t insult • Benny Carter and His Orchestra - All Music Guide, writing: “Carter was as strong an the musicians; he just tapped on the stand and said, (Impulse, 1961) altoist at the age of 90 as he was in 1936, when he was ‘I’ll try to give you a better beat.’ I admired Benny so • Benny Carter & The - merely 28.” And “humility” is another word that often much.” Central City Sketches (Musicmasters-Nimbus, 1987) comes up in discussions of Carter’s legacy. Jazz Although Carter was a native New Yorker, he spent • Benny Carter/Phil Woods - Another Time, Another historian Ed Berger, who produced many of Carter’s most of his life on the West Coast. In 1943, he moved to Place (Evening Star, 1996)

THE NEW YORK CITY JAZZ RECORD | July 2011 9 ENCORE

recalls Booth. “I could have died and gone to heaven. I Recommended Listening: Juini Booth didn’t really know any of Monk’s songs but Monk • - Music from the Spheres liked it.” (ESP-Disk, 1966) by Sean O’Connell After a year of fun and sun Booth returned to New • McCoy Tyner - Enlightenment York, debunking a rumor that had spread quickly. (Milestone-Fantasy, 1973) Much can be said “ said to me ‘Juini, there’s a rumor you’re • McCoy Tyner - Atlantis (Milestone, 1974) about a musician by dead.’ I came back and everybody’s doing a double • - Beyond the Rain looking at his take, like they’d seen a ghost.” In New York, Booth (Contemporary OJC, 1977) employers. By the time played on ’ Harlem Bush Music albums, • Steve Grossman - Way Out East, Vol. 1&2 (Red, 1984) bassist Juini Booth was participated in the avant garde loft scene and rejoined • Charles Gayle - Ancient of Days 30 his resumé included Hubbard’s band for another few paychecks before (Knitting Factory Works, 1999) ‘70s ‘10s experience alongside joining up with ’ Lifetime. “Things were some of the most significant jazz artists of the ‘60s and changing. I started playing electric bass. My ears rang ‘70s. His innate sense of time and reliability as a role for ten years after that.” This unit also went regrettably player has given Booth a career of which most people unrecorded but there are a few bootlegs circulating of could only dream. the Lifetime band in Europe with Booth hiding in the Born in Buffalo on Feb. 12th, 1948, Booth began shadow of his amplification with organist skipping school to make dates with in a keffiyeh seated behind him. and his brother Gap while he was still a teenager. His time with Williams, like many of his other Inevitably Booth broke off for where he gigs, was short-lived and Booth returned again to New befriended drummer JC Moses at the East Village club York, picking up work with pianist McCoy Tyner, who Slugs. Moses, who lived only a few blocks from the had spent nine months as a Messenger. “I was off and venue, introduced Booth to some of his friends: Hank on with McCoy for five years. We did some duo gigs Mobley, , , Philly Joe and trio gigs,” says Booth. “His left hand. It would Jones. “Here’s this little young guy hanging around. So break the thickest strings on the piano. Way down at they found a use for me,” recalls Booth. That use the bottom. I had to get out of the way sometimes.” turned out to encompass everything from ’s After a few recordings Booth’s restless bass led to work castoff gig catching curveballs from with . “It was loud but it was musical.” He at the Village Vanguard to a lifelong affiliation with the appeared on Time Capsule alongside and July 19th Arkestra. “Sun Ra was an amazement. It was George Coleman before striking out on his own again. not a band for the faint hearted. And it still isn’t.” Starting in the early ‘80s Booth began focusing on While still a teenager Booth received his greatest solo bass work, earning recognition from the Mike Longo Trio education by replacing Reggie Johnson in ’s International Society of Bassists and National Jazz Messengers. For two years he crisscrossed the Endowment for the Arts. Although he still occasionally country, five to a car, with every instrument case performs solo Booth can often be found on the fringes strapped to the roof, playing every night alongside of Alphabet City playing an electric bass with his band Blakey’s thunderous hi-hat. “He taught me something,” I Led 3 Lives at ambient space-lounge Nublu. says Booth. “He gave me some muscles.” Unfortunately, Despite 40-plus years in the business Booth still July 26th due to a little problem with the IRS, Blakey was dealing looks like the youngest guy in the room playing a strictly in cash during Booth’s tenure and no recordings blend of house, reggae and swing well into the Jeff Siegal Quintet were ever made of that band. morning. But for all his accomplishments Booth is not Eventually Booth left the group to join Messenger just sitting around talking about the good old days. He alum - a band he would subsequently is focused on the future with plans for a solo record quit and rejoin three times. Following his first stint and other projects that will take him around the world Booth set out for a change of pace in California where but always, inevitably, back to New York. he befriended drummer and was never “I’m a loft session Wildflower. I’m a Sun Ra at a loss for work. “I got to play with all the West Coast satellite. I’m a Coltrane-ite. I’m a Jazz Messenger. I’m a guys - , , Harold Land, Tony Williams Lifetimer. I’m all these things. I look at .” While enjoying the Pacific air Booth it and I say, ‘Well, that’s wonderful’ but it also says that landed two life-changing gigs in a week: a night I never did something of my own. And this I’m trying outside San Francisco with Cannonball Adderley’s to change.” v quintet and a set with at the 1969 . “It was an incredible week,” For more information, visit juinibooth.com

LEST WE FORGET

Dyett at the great music program at DuSable High In the same year, Jenkins also recorded: Alto John Jenkins (1931-93) School. (Others who passed through the program there Madness (Prestige) with Jackie McLean; Jenkins, Jordan included , Von Freeman, , and Timmons, with and Bobby Timmons by Donald Elfman John Gilmore, Wilbur Ware, Dinah Washington, Johnny (Prestige) and Star Eyes with (Savoy). As Hartman, and many others.) Jenkins’ a sideman in 1957 he was one of the Prestige All-Stars For every celebrated musician in the jazz world, there first instrument was the but he later switched under and also recorded with Hank are countless others who, for one reason or another, to the alto. Joe Segal, who later ran Chicago’s famous Mobley, Paul Quinichette, Clifford Jordan, Herbie fall well beneath the radar and gain only some small Jazz Showcase club, ran a series of popular jam sessions Mann and Wilbur Ware. All of these leaders and these local acclaim or disappear into anonymity. at Roosevelt College and Jenkins played in those from labels recognized an inspired and passionate musician Alto saxophonist John Jenkins is not exactly 1949-56. but, alas, after some sideman work through the early anonymous but this Parker-inspired player made very Jenkins played, but did not record with, Charles ‘60s and a few dates with organist/singer Gloria few recordings and had a career that was but all too Mingus in 1957 and in that same year made his only Coleman, John Jenkins pretty much dropped out of brief. Still, connoisseurs know him and his limited albums under his own name (he had moved to New music. recorded output serves as evidence of a talent to be York). John Jenkins and was done for Blue Jenkins worked as a messenger in New York and experienced. Interestingly, in 1955, he twice replaced Note and finds the saxophonist and guitarist as sold jewelry and brass objects to make a living. He - in and Chicago - in groups led co-leaders with the phenomenal rhythm section of briefly took up the alto again in the early ‘80s, did by . Here was an early indication of Jenkins’ (piano), Paul Chambers (bass) and Dannie some playing on the streets and, in 1990, recorded at prowess as a postbopper. Richmond (drums). Jenkins wrote three originals of a Condon’s with fellow Chicagoan Clifford Jordan in the John Jenkins was born in Chicago on Jan. 3rd, hardbop nature and his playing deeply reflects the latter’s big band. Jenkins died Jul. 12th, 1993. His is a 1931. He studied with noted teacher Captain Walter influence of . voice that still deserves to be heard. v

10 July 2011 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

of concern for the question, “What is the subject?” Kurzmann, Elizabeth Harnik, Jason Moran, , New Bottle, New Wine, New Table Weren’t the rhythmic, melodic and harmonic Paal Nilssen-Love, Craig Taborn, Håvard Wiik, to innovations that occurred during the ‘40s caused name a few. There are many others and many I’m sure by Ken Vandermark because the subject matter for the generation I haven’t heard yet. These are the artists who inspire had shifted away from the artistic concerns of the ‘30s? me now, who have the creative attitude of Thelonious Isn’t it time for a new modernism in our music? By this What was discussed by and Coleman Monk, the creative spirit of , the creative I mean a move away from the classic, established forms Hawkins, et al, was no longer the focus for the imagination of Billie Holiday. of jazz and improvised music toward completely new musicians of the next wave. Times had changed - By embracing the innovative conviction of these structural considerations. Throughout much of the socially, politically, culturally. Charlie Parker and musicians (past and present) - the integrity with which 20th century a creative dialectic existed between (among others) turned the pop songs they push(ed) ideas to the edge with spontaneous generations, which led to exciting and innovative of their parents upside down and found a whole new sound and composition - we will locate the key to our expansion of artistic thought. When I look around and way to portray their point of view with sound and own directions. Because in the end, from an artistic listen to much of the current international scene, I can’t spontaneous narrative. The Beboppers completely standpoint, it’s not just about gigs, erudition and chops shake the feeling that there isn’t enough of a push understood the subject, what they were going to - it’s about ideas. v against the past and pull toward the future. address with their music and why. What I do find is 1) a general concern about I would say the same is true with regard to the For more information, visit kenvandermark.com. “getting work” (and musicians have responded to this work that did with his own group(s); Vandermark is at The Stone Jul. 8th-9th. See Calendar. problem more and more by creating their own what Miles Davis did with the bands he led from the performance options); 2) a great knowledge of ‘50s to the ‘70s; what invented for his Since the spring of 1986, Ken Vandermark has focused on historical styles (the current access to musical entire life; why Cecil Taylor found one way to open up expanding the possibilities of improvised and composed information both aural and visual is unprecedented) the expression of time in jazz and why music. He’s worked continuously from the middle ‘90s and 3) a new level of virtuosity among young musicians came up with another; why the English improvisers onward - both as a performer and organizer in North (it would seem that the players that like Evan Parker and Paul Rutherford found their own America and Europe - and his creative emphasis has been has wanted for his most demanding music have arrived language across the ocean from the United States; why contemporary music that deals directly with advanced in greater numbers). All of these developments are the Art Ensemble of Chicago created a socio-political methods of improvisation. Vandermark moved to Chicago positive and important: work ethic, knowledge, music-theater language nearly concurrent with what from Boston in 1989. Since then he’s performed and recorded instrumental discipline. was happening on the Dutch scene of the ‘70s, but with in a vast array of contexts and with many internationally But what about ideas? Too often during a concert, completely different results. And on and on. renowned musicians, touring on a regular basis in North doesn’t it feel that there is a strong element of creative Isn’t it necessary for us to do the same thing in our America, Europe and for more than half of each year. complacency going on? Perhaps the music is played own time? Shouldn’t it be a requirement? As His concerts and numerous recordings have been critically well, but it’s formally predictable (the perpetuation of states in the documentary about The Minutemen, We acclaimed both at home and abroad. ‘head-solos-head’ structure without an attempt to vary Jam Econo, “All you had to do to belong was contribute.” the sequence of events). Or there is an aesthetic Isn’t it the same for us? I suggest that this means more ‘concept’ in place that’s recognizable within the first than getting gigs, being informed and developing Little Apples: minutes but never developed, the surface of the technique. It means finding a new subject for us to A Collection of Fiction musical ‘point’ is enough (yes AMM is great, but what describe, one that belongs to this period and whoever by about the groups that can’t sustain narrative tension is conveying it, whether an individual, a group, a with the materials they’ve chosen, reduced or scene. I would suggest that this proposition is more e New York City Jazz Record contributor otherwise). Or there is a simplistic hybrid of styles essential than jobs, a large record collection and access Kurt Gottschalk presented without concern for why the components to the Internet and hours in a practice room. Without worked in the , the end result a diminution “the subject” the rest of it has no point. “Kurt’s writing is hilarious, of the source material (the energy of rock coupled with A new modernism would free all of us in the surprising, full of power and the instrumental technique of jazz led to some seriously music, allow each individual to find different and bad fusion). Or old forms are analyzed into oblivion personal things to say. The subject matter may lead to feasts on his knowledge with smug satisfaction (the difference between clever radical change, as the ideas of did. In of music.” – Roy Nathanson and intelligent often lies in the use of irony). And on other instances, the world may be presented with a and on. unique voice, like that of . But in every case Despite all the hard work going on, the the musicians will have the opportunity to contribute investigation of music history and the ability to play something, belong to the legacy of jazz and improvised Available in print whatever is at hand (scored or otherwise), doesn’t it music by adding to it with ideas, instead of maintaining or pdf format at seem that something vital has been lost in the former structures, gestures and conventions. Without www.lulu.com/spotlight/SpearmintLit contemporary discourse of jazz and improvised music? question there are artists of my time that I hear doing Or from Downtown Music Gallery I think that the issue may be that there has been a lack this: Ab Baars, Tim Daisy, Axel Dörner, Christof

VOXNEWS by Suzanne Lorge accomplishes the task masterfully, however. She relies Ding, the first album that recorded on her long-time collaborators Mark Soskin (piano), under his own label Reprise. The tunes are all digitally Roseanna Vitro started her career in Texas, working Dean Johnson (bass) and Tim Horner (drums) to pull it remastered for the CD, along with two bonus tracks, her way through rock, blues, gospel and R&B, off and violinist Sara Caswell contributes in no small one previously unheard. While there isn’t much new eventually landing in jazz, where she’s remained since. part to the album’s seductive mood. She launched the here musically, enthusiasts will appreciate the well- She has toured internationally as a jazz ambassador for CD at Dizzy’s Club last month but is following up with done liner notes that document the beginnings of the US State Department, headlined at Kennedy Center a performance at Saint Peter’s Midtown Jazz at Midday Sinatra’s collaboration with arranger Johnny Mandel. and and released 12 albums for Jul. 27th. Not to be outdone, Storyville is offering a Concord, Challenge, Half Note and Telarc. It’s hard to comprehend the assemblage of talent comprehensive package of The Boswell Sisters’ Yet Vitro’s latest release - her first for Motéma on drummer Terri Lyne Carrington’s inspired extensive oeuvre of early traditional pop songs. At Music - is a departure from her Songbook mainstays. undertaking, The Mosaic Project (Concord). Imagine a more than 100 titles, The Boswell Sisters Collection covers On The Music of Randy Newman Vitro tackles 10 of the party where Nona Hendryx, , the trio’s decade-long career in the ‘20s-30s. Like composer’s pop and movie tunes, the entirety a brave Esperanza Spalding, Dee Dee Bridgewater, Sheila E., Carrington, the three women did their own plunge into the depths of Newman’s provocative work. Geri Allen, Dianne Reeves, Cassandra Wilson and arrangements, as revolutionary in their day, perhaps, It’s brave because the lyrics take on some tough Bernice Johnson Reagon are all jamming on one heart- as Carrington is in ours. subjects - slavery, aging, despair. And the tunes stirring tune after another in a hodgepodge of soul, July gig list: Mark Murphy plays Birdland Jul. themselves have to be bent to fit a bop or swing or funk, bebop and pop and you’ll get the idea. The CD 24th; Tierney Sutton and Claudia Acuña are at Dizzy’s Latin groove - not always an easy task with pop tunes sets a new standard for female jazz accomplishment. Club Jul. 19th-24th and 26th-31st, respectively, and and certainly not with pop tunes carrying a social Legacies living on: Concord just issued a 50th Miles’ Café hosts Dee Cassella Jul. 9th and Deborah comment (they tend to be word-heavy). Vitro anniversary collection of the 12 tracks on Ring-A-Ding Latz Jul. 12th. v

THE NEW YORK CITY JAZZ RECORD | July 2011 11 LABEL SPOTLIGHT

perhaps the most important skill of all. Total trust is to an end, and Set the commission from SDR which psi Records also essential. effectively subsidized a very elaborate and technically From the start, Parker’s concerns have been “to demanding idea.” by Stuart Broomer represent my own music in the way I like to see it done There are also regular arrivals of new musicians. and to draw people’s attention to the work of other In his mission statement for the label, Parker wrote, When Evan Parker launched psi a decade ago, he was musicians who I feel are not given the prominence they “Our reason for making records is to present unique no stranger to producing records. Back in 1970 he was deserve, whether young, middle aged or even the statements from individuals making music their own a founder of Incus, one of the first musician-run labels terrifying ‘old’.” As he points out, “without recordings, way regardless of genre.” It means just as much to the and a very influential one, setting an important there is no hope of a professional existence. Apart from musicians. Bassist Adam Linson remarks, “I think it’s a precedent for countless musicians. When he left Incus their important function in documenting the musicians’ very powerful sentiment. The possibility of making in 1986, at the dawn of the CD era, he was becoming work, they are also the calling cards to promoters and unique statements is what sent me down this path in one of the world’s most widely recorded musicians. commentators.” the first place. It implies avoiding anachronistic Today he’s built up a very large discography on labels Surveying the psi catalogue, you get a sense of its reproduction in favor of statements that are part of like ECM, Emanem, FMP and Leo. multiple functions for Parker. There’s the systematic today’s environment and perspectives. A project like By 2001, though, Parker found he “missed the presentation of his solo soprano music from reissues Systems Quartet that incorporates aspects of both jazz feeling of overseeing a project from start to finish that like Solo Saxophone and Conic Sections to new chapters and computer music poses a difficulty for the divided I had known during the initial phase of Incus” and like Lines Drawn in Light. Pisa 1980 Improvisors camps of existing establishments. Thankfully, we have launched psi. According to his mission statement, it’s Symposium is among the reissues, an essential meeting psi.” called “psi for all the associations with irrational of diverse Europeans that has grown by 94 minutes Linson’s just-released Systems Quartet disc with numbers, golden ratios, etc. but above all for the Psi from a single LP to a two-CD set. There are new Axel Dörner, and Paul Lytton points to phenomena, which I am convinced are at the heart of recordings with old friends, including duets with psi’s place in bridging acoustic and electronic improvised music making.” The name is also a kind of drummer and pianist Stan Tracey and, improvisation. For Parker, “It’s part of the work where punning signature: Parker’s initials are ESP. from 2002 to 2007, psi chronicled the annual Free Zone I think I can claim to have pioneered effectively. The To make psi function, Parker works closely with Appleby, the free improvisers segment of the England’s Electro-Acoustic Ensemble goes back more than 20 Martin Davidson of Emanem: “Without Martin I could Appleby Jazz Festival. years and before that the Music Improvisation not do it. I have a busy touring schedule, which shows Parker has also managed to document some Company and the duo with Paul Lytton both had no signs of abating. Every psi production requires my ambitious projects, like the very different octets of important electronic - as distinct from amplified - involvement at every stage, but Martin is there as Crossing the River and Set, based on “the mechanisms of elements. It is a leitmotif in my opera so to speak!” facilitator. In fact, there is no business entity separate biological evolution.” Parker points out that: “These And it’s a key to psi’s identity: Parker has created from Emanem. This simplifies my relations with are both examples of work that would be difficult to a label with the feeling of an expanded musical family. bureaucratic authorities. Martin has the complete find support for elsewhere. They also took advantage Many of the musicians who appear on psi have worked complementary and essential skill set at every stage of of specific situations: Crossing the River the long-term with his expanding Electro-Acoustic Ensemble, like the process. His uniquely equable temperament is association with Gateway Studios, which was coming (CONTINUED ON PAGE 35)

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LISTEN UP!

MATT MITCHELL is a pianist, composer and I knew I wanted to be a musician when... I was 13. Ravish Momin, Franz Hautzinger and others. electronic musician from . He performs regularly throughout the US and the world. He has Dream Band: Given all the people I get to play with, I Teachers: Joseph Earl (trombonist), Jack Warren released several albums on Scrapple Records and has feel like I’m living the dream life. (classical guitarist), Tommy Johnson, Roger Bobo and participated in several recordings in 2011 which should Sergio Carolino. see the light of day later in the year and in 2012. Did you know? I have three cats. Influences: Giocinto Scelsi, George Frederich Haas, Teachers: , Ralph Alessi, Elizabeth For more information, visit mattmitchell.us. Mitchell is at Thomas Ades, Stravinksy, Brahms, Debussy. Charlie DiFelice, Luke Gillespie, , Benjamin Cornelia Street Café Jul. 15th and 30th with , Parker, John Coltrane, , Howard Johnson Witten. Barbès Jul. 16th with , I-Beam Jul. 22nd with and Marcus Rojas. Darius Jones and Jazz Gallery Jul. 27th as part of the SIM Influences: Feldman, Xenakis, Monk, Hancock, Jarrett, Faculty Band. See Calendar. Current Projects: My own ensemble is the Zozimos Hill, Taylor, Bley, Abrams, Powell, Miles ‘64-75, Collective. I also perform with Sanda’s Weigl’s Autechre, Weather Report, Napalm Death, Gorguts, Japanese/gypsy band, Martin Vejerano’s group Chia’s Immolation, , XTC, , Zappa, Dance Party, the TILT Brass Ensemble and Opus Nine Cardiacs, Bernard Parmegiani, Ornette and tons of will premiere my piece “Atsumor” this September. artists I’ll remember only after submitting this. By Day: Gigs, rehearsals, teaching, studying, part-time Current Projects: My sextet Central Chain with Tim jobs! Berne, Oscar Noriega, Mary Halvorson, John Hébert and Tomas Fujiwara, Tim Berne’s Los Totopos, Tim I knew I wanted to be a musician when... I heard “Für Berne/Matt Mitchell/Ches Smith Trio, John Elise” played by a classmate in 4th grade. Hollenbeck’s Claudia Quintet + 1 and Large Ensemble, Matt Mitchell Ben Stapp Darius Jones Quartet, Fourth Floor duo with Dan Dream Band: The Zozimos Collective. Weiss. Duos with Ches Smith and Dave King to surface As a tubist and composer, BEN STAPP is on the later this year. Also activity this year with Rudresh forefront of New York’s creative music scene. His Did you know? I lived in Portugal for two years. Mahanthappa/Bunky Green’s Apex and Rez Abbasi’s debut CD (Ecstasis with and Satoshi Invocation. I also teach at SIM (schoolforimprov.org). Takeishi) received an honorable mention in the Village For more information, visit benstapp.com. Stapp is solo at Voice and allaboutjazz.com called it “a debut of a fresh Downtown Music Gallery Jul. 3rd and University of the By Day: Practicing and composing in preparation for new sound.“ He has recorded with Shoko Nagai, Ken Streets Jul. 13th with Beaux Arts Brass Quintet. See any/all of the above. Filiano, , Alipio Neto, Adam Lane, Calendar.

12 July 2011 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT FIMAV Vision Festival Moers by Mike Chamberlain by John Sharpe by Ken Waxman d . c o m . j a z w o r A l a n N h i g P h o t b y M a r i n s e P h o t b y ( c ) S u s a n O ’ C o r w Peter Brötzmann Planetary Unknown Ornette Coleman

Artistic director Michel Levasseur acknowledged in In these straitened times it is a singular pleasure to Ornette Coleman’s performance at Germany’s Moers the closing press conference that it took two years for behold a festival run by and for artists without being Festival was the surprise birthday present for its 40th the renewed Festival International de Musique Actuelle indebted to the vagaries of corporate sponsorship. edition, which took place Jun. 10th-12th about 50 miles de Victoriaville (FIMAV) to take, both for the Now in its 16th year (Jun. 5th-11th), New York’s annual from Cologne. Announced earlier, cancelled and organization and for the audience. Vision Festival remains the premier international rescheduled, the jazz legend’s performance wasn’t Following the 25th edition, in 2008, Levasseur and showcase for avant jazz, drawing in numerous overseas noted in the official program. Appearing on the fest’s his team took a year off for rest and reflection, returning visitors alongside those from out of state. Alongside final night, Coleman’s quartet turned in a suitably in 2010 with a leaner version - four days instead of five the expected stars, this year’s roster was noticeable for magisterial set, with the leader infusing his tongue on the Victoria Day long weekend. The lineup for 2010 the greater visibility of up-and-coming musicians and flutters and altissimo reed cries with genuine emotion. was also thin on paper, with half of the 20 concerts bands, helped by one night in conjunction with the Segueing through short selections including classics featuring artists from Quebec, whose names would not Festival of New Trumpet Music. After a tentative start like “Dancing in Your Head” and “Lonely Woman”, draw people from outside. And Montrealers were little the final four days ranked with the very cream of the alto saxophonist’s lines swooped, swerved and inclined to travel two hours to see artists who play previous Vision fare. sighed, bringing a distinct blues sensibility to regularly in the city. This year’s schedule offered more Each year the Vision Festival celebrates one of its everything. Meanwhile bassist Tony Falanga’s robust in terms of star power - a relative term in the world of own. For the first time, that honoree came from across strumming and contemplative bowing paced the outside music - with performances by The Ex, the Atlantic, with German saxophone iconoclast Peter material, as electric bass guitarist Al MacDowell used Merzbow, Anthony Braxton and Peter Brötzmann Brötzmann catching the bouquets. Now 70 but in no guitar-like fingerpicking to color the proceedings. among the 20 presentations. way diminished, Brötzmann’s distinctive ensemble- MacDowell’s head elaborations in unison with The 27th edition (May 17th-20th) began strongly cleaving bellow raised the hairs on the back of the Coleman’s lines, or flowing call-and-response patterns with the North American premiere of Taiga, the neck. His stamina also remained unrivalled, on display with Falanga, were buoyed by unforced backbeats trio of vocal artist Koichi Makigami, vocalist/ for over 150 minutes without flagging in three excellent from drummer Denardo Coleman. percussionist Sato Masaharu and Altai throat musician sets to a sell-out crowd. His quartet with fellow veteran Moers’ 20 featured performances took place in Bolot Bayrishev, the gravity of whose voice rose from Joe McPhee was the pick, their impassioned horns reportedly Europe’s largest circus tent. In a positive the primordial depths, the hipster/detective persona cushioned by the deeply resonant twin basses of way, Moers is like a three-ring circus. Besides shows of the beatboxing Makigami combining with the tribal William Parker and Eric Revis. Even then, Brötzmann for the tent’s massive audience, the festival hosts and extraterrestrial elements of earth and sky evoked was taking risks, debuting a duo with the vibes of smaller gigs elsewhere. Daily late-night sessions by Bayrishev’s soft upper register drone and his Jason Adasiewicz, a format with few precedents, but showcased younger Cologne jazzers, mid-morning strumming on the guitar-like kai. one where Adasiewicz rose to the challenge. The final improvisations mixed players from different bands The Ex and Brass Unbound (Ken Vandermark, set with Ken Vandermark, Mars Williams and Kent plus during the week primary schoolers were taught , and ) was Kessler, powered by drum dynamo Paal Nilssen-Love improvisational rudiments by experienced players. An the most joyous performance of the festival. The hard- showed how familiarity can breed not contempt but afternoon recital by 25 pupils plus instructors such as driving funky wall of sound, elements of reggae, West cohesion. All four have been part of Brötzmann’s saxophonist Georg Wissel and tubaist Carl Ludwig African timbres, the careening guitars of Andy Moor Tentet and in some ways this was a scaled-down Hübsch almost confirmed the anti-free music taunt and Terrie Hessels, the collective horn improvisations, version of that celebrated agglomeration: on-the-fly that “my kid can play that” as students created well- the inspired solo breaks of Italian trumpeter Paci and arrangements, great transitions, mastery of dynamics paced, rhythmically challenging sounds. Following the absolutely astonishing power of Gustafsson’s and near-telepathic understanding borne of shared that experiment with protoplasmic sound extensions, baritone sax backed by Katherina Bornefeld’s big drum experience. however, the instructors proved that in-the-moment sound showed what a jazz/rock fusion should sound Other highlights included the debut of avant jazz improv is more sophisticated and demands immediate like, taking the strongest elements of both musics and supergroup Planetary Unknown, comprising responses. An example occurred when some players combining them in an expression of power and soul. David S. Ware (looking unwell), picked up on one child’s repeated nose blowing, Peter Brötzmann’s two sets showed two very paired with pianist extraordinaire Cooper-Moore and incorporating sonic parodies of her nasal honks into different sides of his work. A trio with Paal Nilssen- the stellar rhythm team of Parker and Muhammad Ali, their solos. Love and Massimo Pupillo was a blast of pure power, in a towering performance of power and strength. Coleman’s earlier appearance at Moers was in Nilssen-Love kicking off in high gear and flying all Unlike their recent AUM Fidelity recording, here there 1981. Drummer , also featured over the drum kit for the hour-long set, with Pupillo was no let up in the intensity. Ware, his magisterial that year, returned in 2011 with the Encryption trio of thrashing on electric bass and Brötzmann firing out tone still intact, went for broke playing virtually non- bassist Melvin Gibbs and guitarist , who short bursts of notes. Repetitious, yes, but in the same stop the entire set, often in tumultuous interaction also played with him in the Decoding Society 30 years way that the blues are, with the interest lying in the with Cooper-Moore who gave it his all: when chords, ago. Solid in accompaniment that included cross- variations and build-up of tension, which came about clusters and glissandos weren’t enough he resorted to pulsing and bass drum accents, Jackson’s playing 20 minutes in when the group moved into what fists and forearms too. Similarly outstanding, belied the minor heart attack he suffered the day sounded like “Cherokee” and Brötzmann played an Paradoxical Frog (, Kris Davis, previously. He checked out of the hospital for the show, abstraction of a solo line. Much less abstract was Tyshawn Sorey, with guest ) were evidence returning for observation immediately afterwards. Brötzmann’s solo set the next afternoon. Performed of a new order, with bewildering compositions Using thumping accents and slurred fingering (CONTINUED ON PAGE 42) (CONTINUED ON PAGE 42) (CONTINUED ON PAGE 42)

THE NEW YORK CITY JAZZ RECORD | July 2011 13 CD REVIEWS

Wholes” and “Mira”. always fascinating and emphasized how different a Of the 15 tracks, all are Alessi’s originals save for musician he was from those he worked with, Grappelli four collectively-composed pieces: “Pudgy”, “Racy included. The gulf is even more noticeable on the Banter”, “Celebrity Golf Classic” and the opening tracks that feature reedman André Ekyan, who is heard “Clown Painting”. Curiously, these brief abstract on about a third of the tracks here in place of Grappelli. sketches, marked by odd timbres and repeating This collection illustrates the folly of overlooking rhythmic patterns, are recorded a bit louder than the Django’s later work. His playing is as full of fire and main body of the album, giving the disc a slightly imagination as it ever was and the only reason for any uneven aural effect (perhaps the intention of Reinhardt devotee not to seek out this anthology

Oracle co-producers Alessi and Tim Berne). Elsewhere, subtle would be wanting the complete collections issued by Russ Lossing (hatOLOGY) overdubbed trumpet backgrounds on “Station Wagon Fremeaux & Associes. by Anders Griffen Trip”, “Halves and Wholes” and the closing title track enhance the chamber-jazz aspects of Alessi’s writing. For more information, visit legacyrecordings.com. A Django Listening to jazz, we often hear the influence of the The playing is sonorous and vibrant, although at 72 tribute is at Birdland Jul. 1st-3rd. See Calendar. masters filtered through new artists. One can pick out minutes the program drags in spots. major influences right away. However, listening to Drummers are key to Alessi’s springy, funk- Russ Lossing’s Oracle, we mainly hear Russ Lossing. inflected rhythmic language, as Nasheet Waits proved It’s not that the influences and the tradition are on the trumpeter’s laser-focused 2010 quartet outing not present. On the contrary, it’s all here and then some Cognitive Dissonance. On Wiry Strong it is Ferber who - from Scriabin to , Bartók to Paul Bley - but lends momentum and wide-ranging percussive colors: Lossing isn’t a newcomer. He’s not an old timer either, martial snare patterns on “Bizarro-World Moment”; but he’s devoted himself to crafting his language, to rolling toms on “20% of the 80%”; skittering motion on “detect and watch that gleam of light which flashes “A Dollar in Your Shoe” and rubato musings leading to across his mind from within,” as Emerson wrote. His a bright, surging tempo on “Medieval Genius”. But phrases are formed with tone and touch the way a repeat listens drive home how every bandmember - vocalist shapes words with breath and nuance to not least of all Alessi with his soaring and allusive articulate the message and he has developed an horn - brings this complex contrapuntal world into expansive vocabulary to spark and kindle his relief. explorations. Drummer Billy Mintz and bassist Masa Kamaguchi For more information, visit cleanfeed-records.com. Alessi is are kindred spirits. The command these musicians at The Stone Jul. 1st with Michael Attias and Jazz Gallery possess allows them to render new forms and build Jul. 27th and 30th. See Calendar. fine structures within these compositions. The prized element is space. The ensemble is free to explore in such a way that is only possible when each has all the room in the world and allows the same for his mates - that is great ensemble work. This space opens dimensions of possibilities as the subtle articulates minute details in the worlds discovered within each RECOMMENDED piece. The listener, too, is granted abundant space. “Beautiful Ugly” and “Love and Beauty” are highlights. NEW RELEASES The recording is very successful in preserving the character of the instruments with enough headroom • Chris Dingman - Waking Dreams (Between Worlds) The Essential Django Reinhardt and air that they don’t interfere with one another • Harris/David Sánchez/Christian Scott - Django Reinhardt (RCA-Legacy) Ninety Miles (Concord Picante) sonically. There is room to savor the tones of each by Duck Baker expression. This is fine music for attentive listening. • Pat Metheny - What’s It All About (Nonesuch) Modifiers like “essential” always get a reviewer’s • Jochen Rueckert - Somewhere Meeting Nobody For more information, visit hathut.com. Lossing is at The (Pirouet) attention, since prospective buyers always want to • Craig Taborn - Avenging Angel (ECM) Stone Jul. 1st with Michael Attias and Jul. 5th and Korzo know whether they are being applied with any • David Weiss & Point of Departure - Jul. 26th with this group. See Calendar. accuracy. In this case, no one is likely to argue that Snuck Out (Sunnyside) these recordings from late in guitarist Django David Adler Reinhardt’s career represent his most significant work. New York@Night Columnist But they do offer an excellent selection from sessions recorded in Rome in 1949-50 and make a great • Frank Carlberg - Uncivilized Ruminations introduction to his often-underrated later work. (Red Piano) Django’s position as the first really great jazz • Delirium - Green Side Up (ILK Music) guitar soloist seems secure, as does his standing as the • Fred Ho and the Afro Asian Music Ensemble - greatest European jazzer of the 20th century. He Deadly She-Wolf Assassin at Armageddon!/ adapted the gypsy flair for instrumental brilliance and Momma’s Song (Innova) romanticism to swing, taking as his • Howard Riley - The Complete Short Stories musical model and, in his ability to improvise 1998-2010 (NoBusiness) Wiry Strong melodically, Django showed real understanding for the • /Tá Lam 11 - Ralph Alessi And This Against That (Clean Feed) Mingus! (Jazzwerkstatt) by David R. Adler essence of what Armstrong and other Americans did, even though his musical vocabulary was always • Dr. Michael White - Adventures in Jazz Pt. 1 (Basin Street) There’s a good deal of continuity between Wiry Strong, sweeter and more flowery. The last was even truer of Laurence Donohue-Greene the latest release from trumpeter Ralph Alessi’s This his partner in the Quintette du Hot Club de , Managing Editor, The New York City Jazz Record Against That and previous efforts such as Look, a 2007 Stephane Grappelli, though at his best the Parisian outing with the same personnel. A key difference, violinist could swing quite nicely. The Quintette was • Elton Dean’s Ninesense Suite/Beckett/Miller/Moholo however: tenor saxophonist Ravi Coltrane, a “special formed in 1935 and enjoyed enormous success until (Jazzwerkstatt) guest” on four tracks from Look, is now billed as a full- Grappelli decamped for England in 1939, leaving • Michael Dessen Trio - Forget The Pixel (Clean Feed) fledged quintet member. Between the two frontline Django to lead other lineups. None of these was ever as • London Improvisers Orchestra - Lio Leo Leon (psi) horns, Andy Milne’s spacious piano and the rugged, convincing as the prewar group, but Reinhardt and • -Moholo/Dudu Pukwana/ textural rhythm of bassist and drummer Grappelli did work together several times after the /Frank Wright - Mark Ferber, Alessi gives himself an enticing range of war and the recordings they made in Rome are of Spiritual Knowledge and Grace (Ogun) options. He goes the route of tight orchestration, spiky particular interest. • The Shift - Songs from Aipotu (Leo) melodies, darkly suggestive harmony and flowing Django’s playing had evolved considerably during • Starlicker - Double Demon (Delmark) improvised dialogue, hard-edged but not without a the ‘40s. He incorporated some of the boppers’ Andrey Henkin certain tenderness on numbers such as “Halves and innovations and if this wasn’t always successful it was Editorial Director, The New York City Jazz Record

14 July 2011 | THE NEW YORK CITY JAZZ RECORD

that the music be “casual but very determined” and he to James Williams’ loping, long-toned tune “Alter Ego” fulfills that wish through an impressive focus on and Bobby Watson’s boogaloo march “Heckle and weight, line, dynamics and overall direction. On the Jeckle”. Chris Pasin, a trumpeter who has recently way he invokes all manner of musics with prodigious emerged again on the scene after decades of obscurity, skill: jazz, classical, improv, noise, vocal chorus. But brings his distinctive, cliché-free voice to the nowhere are the references sustained as he restlessly proceedings and Brian Patneaude’s tenor sax fills the pursues an unceasing inner flow, which makes blow- hardbop mold admirably. Bassist Mike Lawrence and by-blow description thankless. Contrasts and jump- Benedict keep the time crisp and exhilarating. A

cuts abound, with ideas picked up, examined and highlight is a diaphanous, haunting and multi-tempoed

discarded in favor of newer routes all within the space version of Grachan Moncur III’s “Frankenstein”. Discovers Cargo Cult (CIMP) of a few minutes. Some moments stand out in relief: a Noisy Love Songs (for George Dyer) (Tzadik) passage of plaintive cries pitched against dark grainy For more information, visit smallslive.com and planetarts.org. Inner Landscape Daniel Levin (Clean Feed) slashes; a litany of multi-layered abrasions; a sequence Barth is at The Kitano Jul. 1st-2nd with Jerry Bergonzi, Smalls by John Sharpe of descending chuckles in contrasting registers. But in Jul. 19th and 92nd Street Y Jul. 20th. See Calendar. practice the six tracks are all of a piece. His technique It wasn’t until he broke his arm in 1949 that bassist is unquestioned and he revels in the physicality of the became a jazz pioneer on the cello. He instrument. Those with an adventurous streak or UNEARTHED GEM experimented with its smaller cousin, which he could interest in the outer reaches of the cello universe will play even with his arm in a sling and performed and find much to savor. recorded on it for the rest of his career. But not until the ‘60s New Thing did the cello properly find its For more information, visit cimprecords.com, tzadik.com and place. Today the cello plays second fiddle to no one, cleanfeed-records.com. Lee is at Central Park Summerstage especially on the three discs at hand. Jul. 15th-16th, I-Beam Jul. 29th with James Falzone and The Cellist Tomas Ulrich leads the string trio Cargo Stone Jul. 30th with William Winant. Levin is at The Stone Cult through their fourth outing on Discovers. Lauded Jul. 1st, Downtown Music Gallery Jul. 2nd and Jazz Gallery for his ability to bridge the jazz and classical worlds, Jul. 9th with . See Calendar. Ulrich goes even further here, bringing a finely honed improvisational sensibility to the table. Bassist Michael Bisio and guitarist Rolf Sturm have similarly wide Flashpoint: NDR Jazz Workshop (April ‘69) ranging tastes and firmly sublimate their abundant John Surman (Cuneiform) by Jeff Stockton technique to the needs of the music. This predominantly tuneful set sounds like three friends having fun, In 1969 Brit saxist John Surman invited some of his demonstrating a mutual love of melody. Bisio proves a mates to Germany to tape a TV show for North surefooted anchor, buoying up the ensemble but German Broadcasting in Hamburg. A mind-blowing blending the lithe and the lyric in his features, gathering of the cream of musicians plus particularly a fine pizzicato spot on “A New Day”. two Austrian guests, Flashpoint (a two-disc DVD/ Sturm fits right in, whether cleverly inserting Morse CD set) serves as an essential historical document as Live at Smalls Eponymous code suggestions into the spiky swing of “To Birds” or Bruce Barth Trio Michael Benedict & well as a vital performance, which, aside from the milking the high drama of “Oil”. A democratic ethos (smallsLIVE) Bopitude (Planet Arts) turtlenecks, hairstyles and black and white manifests through shared writing credits, elegant cinematography, is as fresh as last week. by George Kanzler interplay and ample solo room. On “Mixed Emotions” In his informative liner notes, Brian Morton the leader partakes of a darkly abrasive and animated Pianist Bruce Barth has been a reliable fixture on the asserts that Surman and his crew probably learned arco duet with Bisio while the extreme register postbop/hardbop scene in the Big Apple since the much of what they knew from records and since the murmurings of “Walking Through Those Shadows” early ‘80s. In the quintet Bopitude, his strong touch first notes we hear are a brief Harry Miller bass unfurl into an appropriately mournful three-part and attack are ideally suited to stand up and be heard vamp, the LP that quickly comes to mind is counterpoint before a series of anguished variations. in assertive company. His trio work is rarer and the set Coltrane’s /Brass. Piano and drums pick up the Bisio’s “History of a Mystery: H. floresiensis” moves captured at Smalls features him not only as leader but rhythm, the horns (led by clarion trumpeter Kenny from violent to ruminative, concluding a pastoral idyll also as the composer of eight of the nine tracks. Wheeler) take up the cause and Surman sculpts a with a sweetly lilting theme. Live at Smalls is extremely well paced and particularly burly and rough-hewn solo on soprano. Strings also loom large on Noisy Love Songs, as programmed for a live CD. It begins with the midtempo Three of the five cuts are Surman compositions, but cellist Okkyung Lee unveils a program that focuses as “Oh Yes I Will”, almost a warmup displaying Barth’s he tends to give the solo spotlights to his band. much on compositional structures as the unfettered fluidity and easy swing. “Sunday” hints at a churchy Altoist Mike Osborne is fleet and aggressive on explosions for which she is better known. Though 6/8 in its flextime opening, then picks up steam as “Mayflower”. On his own “Puzzle”, Erich monster improvisers like Craig Taborn and Peter Barth digs into block chords before settling back into Kleinschuster blows limpid trombone in contrast to Evans are on board, their contributions are used the melody with hints of waltz-time. On his meditative, Malcolm Griffiths’ busy, bursting energy that sparingly and with surprising restraint, as part of a delicately pealing solo on “Yama”, the mood is challenges the structural integrity of his horn. Tenor revolving cast. “Danji” is a mercurial pas-de-deux for enhanced by Rudy Royston’s mallets over Vicente Ronnie Scott’s smooth solo gives way to Surman’s Taborn’s crystalline piano and Lee’s swooping cello Archer’s bass. “Almost Blues”, an AAB blues with an soprano on pianist Fritz Pauer’s “Gratuliere”, a tune while “Saeya Saeya” adds Evans to the mix in an extended B-section, finds Barth developing lines with reminiscent of Coltrane’s version of “Inch Worm”. exchange of smeary gesture. Those two improvisations a conviction akin to that of late blues piano master Ray The set closes with the title track, commencing apart, most of the pieces juxtapose simple interlocking Bryant. “Peaceful Place” successfully combines ringing with a raucous overlapping fanfare. Surman’s bari rhythmic devices with layers of electronic effects or tones with an insistent bass ostinato and earthy two- sits down below and Osborne screeches on top, wilder individual expression. The overall effect is hand chords. “Afternoon in Lleda” features extended Griffiths plunges the bell of his horn like mad and accessible and intriguing, exemplified by the opening rubato and lyrical solo piano interludes. “Wilsonian Pauer pounds the keys with the heels of his hands. “One Hundred Years Old Rain (The Same River Alto”, a reference to Barth’s frequent collaborator alto Osborne takes the first solo, even more aggressively Twice)” where the serene beauty derived from the saxophonist Steve Wilson, is proto-funk with sprung than before. When Alan Skidmore (who had intersections of trumpet and strings is underpinned by rhythms and deep grooves. Barth sidles into the previously been a revelation on “Once Upon a crackling electronics and sounds evocative of dawn in melody of “Good Morning Heartache” rubato, his Time”) takes over on tenor, looking like Joe a rainforest. Elsewhere, Cornelius Dufallo’s violin and improvisation flowing out of it. Flexible and sprung Henderson with his thick moustache and horn- Christopher Tordini’s bass join Lee in a string trio on rhythms also animate the closer, “Looking Up”. rimmed glasses, he builds his story-telling solo to an “Upon A Fallen Tree”, anchored by a two-note pizzicato Barth’s piano provides a strong chordal anchor for ecstatic high before the action falls and dovetails motif while “White Night” comes on like a concerto Michael Benedict & Bopitude. Benedict, unlike some right into Surman’s energized baritone feature. It’s for Satoshi Takeishi’s exotic percussion. drummer-leaders, doesn’t loom over the proceedings. the program’s final leap-from-your-chair moment, Finally on Inner Landscapes we are left with the He’s a team player and provides a variety of tempos some of the best that British jazz had to offer. cello alone. On his first solo record, Daniel Levin and approaches, ie, sticking to brushes throughout Decades later, Surman has left a sterling legacy. allows his imagination to run riot over the course of “Joy Spring”, which keep the music fresh. Selections six improvisations from a brace of live dates captured range from the familiar (“Moanin’”, ’s For more information, visit cuneiformrecords.com during 2009. In the liners Levin describes his intention “Cheese Cake” and Kenny Dorham’s “Whistle Stop”)

THE NEW YORK CITY JAZZ RECORD | July 2011 15

while his light but highly articulate touch echoes the GLOBE UNITY: TURKEY classical restraint and open-ended lyricism of Keith Jarrett. Rhythmically and harmonically, however, Clayton allies himself with the new breed, employing through-composed rhythmic structures and semi- functional chord progressions that ‘resolve’ in unusual ways. Like many hungry young lions, Clayton seems on a mission here to claim his musical turf, mixing high concept writing and improvisation with an

The Hour of the Star undercurrent of soulful, party-down swing. Quartet (Leo) The original material flows with a fractured, by Stuart Broomer postmodern logic, supported by Clayton’s remarkable command of the keyboard, his moods quickly swinging Tenor saxist Ivo Perelman has here assembled a group between assertive declamation and subtle suggestion. Istanbul Sessions Ilhan Ersahin (Nublu) of rare compatibility, renewing musical relationships But his originality is most apparent on covers of the Snow with pianist and bassist Joe Morris and standards “If I Were a Bell” and ’s “All the Mark O’Leary/Senol Küçükyildirim/Murat Çopur/ selecting a drummer, Gerald Cleaver, who contributes Things You Are” and “Nobody Else But Me”, all prime Can Ömer Oygan (TIB Prod.) mightily to the music’s cohesion. The pieces are all examples of how an innovative improviser can find Featuring Eugene Chadbourne attributed to the quartet, so the format is free new inspiration in time-tested forms. Dead Country (Konnex) improvisation, but set within group dialogues of by Tom Greenland continuous (and often tremendous) momentum. For more information, visit emarcy.com. Clayton is at Jazz One of the Middle East’s largest countries, with a While Perelman, like most saxophonists, can Standard Jul. 1st-3rd. See Calendar. distinctive folk music tradition employing unusual engage the furies, he’s capable of a broad expressive rhythms and a unique micro-tonal tuning system, range, a musician who can construct a compelling Turkey has also embraced outside influences such linear narrative while picking up and incorporating as jazz. These projects, all recorded in Istanbul in the nuances supplied by his collaborators. The group collaboration with Western artists, suggest the here is ideally suited to this, with Morris’ often loping extent to which creative improvisers have developed elastic beat, Shipp’s challenging comping and forceful a common language understood across borders. solos and Cleaver’s multi-leveled rhythmic and timbral Nublu proprietor and label head Ilhan Ersahin’s commentary. This CD documents the first meeting of Istanbul Sessions is the fruit of his frequent trips this group, recorded in a studio prior to a trip to Brazil. there to promote New York artists; in addition to A few of the CD’s six explorations particularly Swiss trumpeter Erik Truffaz, it includes bassist Alp stand out. “Singing the Blues” is a rare flight for Lark Uprising Blue Chicago Blues Ersonmez, drummer Turgut Alp Bekoglu and Perelman into a traditional zone. Accompanied here by (featuring Joe McPhee) Joe McPhee/ percussionist Izzet Kizil in a set of rocking originals. just Morris and Cleaver, he picks up on the warmth Mikolaj Trzaska Ingebrigt Håker Flaten Ersahin’s warm, relaxed tenor tone counterpoises and swagger of R&B, mining inherited phrases for an (Multikulti Project) (Not Two) Truffaz’ electronically enhanced growls and original perspective. The title track is the centerpiece, by Kurt Gottschalk screeches, together delivering slow-moving modal an intense group exploration set within the modal melodies over the bubbling hand-slaps of Kizil’s terms of the classic Coltrane quartet in its last phase. Saxophone quartets can be a noisy affair: raucous, darbuka. Track to track, the album maintains its But this group takes the principle of dialogue further, rambunctious and celebratory. Close cousin the clarinet momentum, balancing creativity with accessibility. building in density and freedom to create a fully quartet is a subtler persona, more nuanced and capable Snow, which juxtaposes a photograph of cloud- interactive ensemble, form persisting ultimately in the of greater internal dialogue, enough so that Polish capped Mount Ararat on the cover with a crowded saxophone lead. The concluding “Whistling in the reedman Mikolaj Trzaska was easily able to add the cityscape on the back, is another example of Middle Dark” is marked by an intense sense of mystery, at fifth voice of Joe McPhee to his Ircha clarinet group East-meets-West, the latter represented by Irish times fierce group dialogue, at others a vehicle for without the conversation getting overwhelmed. guitarist Mark O’Leary, the former by trumpeter Perelman’s tenor to swirl off alone or with sparse McPhee plays a variety of instruments in the reed and Can Ömer Uygan, bassist Murat Çopur and accompaniment by just Cleaver or Morris. brass families and is smart enough for great sensitivity drummer Senol Küçükyitdirim. Snow opens with in his playing. And while McPhee is given “featured two extended electronic sound collages built around For more information, visit leorecords.com. Perelman is at artist” billing, he’s not the star of the show on Lark O’Leary’s slow-moving, delicately crescendoed The Stone Jul. 1st and Issue Project Room Jul. 13th with Uprising; one nice thing about the grouping of like intervals, the second achieving an eerie ambiance of this group. See Calendar. instruments is that it’s the instruments themselves, a spelunking expedition. “Ka”, the third cut, waxes and not their players, which take the spotlight. When

ecstatic by comparison, O’Leary evoking elephantine one clarinet does push them into the occasional frenzy cries while Uygan builds long tones of primary and another quickly pulls them back down again, it’s color into emphatic chromatics to sustain a dramatic only the engagement of instruments - and of the climax. The overall effect is like listening to a moment at hand - that is heard. rainforest: dense clusters of sound obscured by McPhee picks up his saxophone for a fine duo thick undergrowth and a canopy overhead. session with bassist Ingebrigt Håker Flaten. The The black-and-white cover shot of a cowboy- session was recorded in the Norwegian bassist’s former hatted guitarist fingering a jackknife to his single- adopted home of Chicago and is geared, at least string diddley-bow evokes a rootsy vibe, but Dead titularly, toward that city’s great blues tradition. The

Country’s eponymous album is more avant-metal cry on Blue Chicago Blues is serious and spontaneous, Bond: The Sessions than ‘country’, fired by the triple onslaught of Gerald Clayton (Decca-Emarcy) even shocking at times. McPhee’s simultaneous Sevket Akinci, Umut Çaglar and featured guest by Tom Greenland playing and moaning on “Requiem for a Broken Heart” Eugene Chadbourne’s thrashing guitars, Demirhan sounds almost Arabic, or at least nowhere near Baylan’s snappy electric bass and Kerem Öktem’s Pianist Gerald Clayton is a formidably talented Maxwell Street. Flaten proves flexible throughout, headbanger beats. On “Mole in the Ground” up-and-comer, raised under the tutelage of a musical even taking an inventive percussive turn on his bass in Chadbourne fingerpicks banjo and croons the family (his father plays bass, his uncle sax), who has “I Love You Too Little Baby”. More than anything, Appalachian ballad in C Major while the Turkish apprenticed and performed with an impressive roster more than city or mood, the blues is (or once was) quartet wails in the parallel harmonic universe of D of heavyweights to emerge in the latter half of his 20s about playing directly from the heart. It’s that sense of minor; on “Sooner or Later” he vents shouted-word with two Grammy nods and the foundation of an the blues that Flaten and McPhee channel. They’re not poetry. The collective wall of sound ranges from original sound. Bond: The Paris Sessions is his sophomore playing 12-bar patterns, but they’re playing the here jam-rock to free-noise: at the local release with bassist Joe Sanders and drummer Justin and now. level. Brown; like his debut Two-Shade it highlights his strong writing hand and personal aesthetic, a simultaneous For more information, visit multikulti.com and nottwo.com. For more information, visit nublu.net, tibprod.com and de- and reconstruction of the jazz tradition. McPhee is at The Stone Jul. 2nd and 12th-13th (both with konnex-records.de Traditional elements are evident in his feel for Ingebrigt Håker Flaten) and University of the Streets Jul. funk and blues, recalling ’s gutsy style 6th. See Calendar.

16 July 2011 | THE NEW YORK CITY JAZZ RECORD

sounds composed. Berne uses recurring thematic familiar environment. The underrated O’Connell, phrases to construct new patterns on “Cornered”, as whose three-decade tenure with Valentin has given Chevillon matches rhythmically with scraped strings, him an invaluable insight into his partner’s musicality, before settling into a groove. He raps the bass for contributes six original compositions and three hip percussive resonance, adding texture to Berne’s high- arrangements of popular standards that highlight the wire theme on the concluding “Single Entendre”. leader’s rhythmic, melodic and tonal strengths. Though perhaps Old in chronology, the startling The opening orchestration of Charlie Chaplin’s clarity and responsiveness of Chevillon and Berne’s “Smile” immediately identifies Valentin as a compelling collaboration belies any notion of Unwise. melodicist, lyrically swinging the popular line.

Old and Unwise O’Connell’s arrangement draws upon the persistent Bruno Chevillon/Tim Berne (Clean Feed) For more information, visit cleanfeed-records.com. Berne is rhythmatism of his section mates while his solo by Sean Fitzell at The Stone Jul. 2nd with John Hébert and Stone Jul. underscores his own harmonic genius. A flute/conga 13th-14th and Cornelia Street Café Jul. 15th with Matt interlude adds dramatic depth to the piece, which For this live-in-studio date, Tim Berne engages crafty Mitchell and 30th as a leader. See Calendar. concludes with percussion-driven intensity. The veteran Bruno Chevillon for a series of improvised pianist’s “Slip and Slide” is a tipico Latin jazz excursion duets. Flinty alto contrasts the bass’ resonant warmth reminiscent of his Mongo Santamaria days, Valentin - but it’s less the instruments than the personalities relaxed and soulful, while his pop-oriented “Joy” finds behind them that propel the music. the flutist playing with overwhelming delight. The “Crossed Minds” erupts in an introductory blast title track, beautifully arranged for the leader’s alto of darting alto runs matched by fleet retorts from flute, is unabashedly romantic in its tone. Chevillon. Immediate contrast emerges with the The flutist is in a salsafied setting on the uptempo spacious suspended tones of “High/Low”, as Berne “Hummingbird” whereas the electric keyboards of patiently builds a concluding repeated theme. “See Saw” has him floating in a more ethereal Chevillon hammers the strings to begin “L’etat atmosphere. The gentle orchestral sonance of D’incertitude” while Berne’s dissonant overblowing overdubbed flutes gives “When Sunny Gets Blue” a Pure Imagination heavenly allure and “Cat Man” highlights the band’s gradually recedes and he unfurls fluid lines in response Dave Valentin (HighNote) to the bassist’s thrumming. “Au Centre du Corps” by Russ Musto ability to get deep down into the funk without similarly opens with alto howls and fluttering sacrificing musical sophistication. “Last Minute” percussive bowed bass, featuring extended techniques Versatile flutist Dave Valentin’s third outing for dances the set out in an AfroCuban groove typifying before rapidly spinning more traditional lines. HighNote delivers a solid program, blending smooth, Valentin’s style, concluding a disc that can only add to The pair consistently asserts acute listening. Latin and straightahead jazz into an intoxicatingly the flutist’s well-deserved popularity. Developed from a buzz of prepared strings and crisply satisfying cocktail. Joined by his first-rate working peppered sax, they join in an uneasy consonance of band of longtime musical director and pianist Bill For more information, visit jazzdepot.com. Valentin is at wavering alto cries and bowed bass on “Quelque O’Connell, bassist Ruben Rodriguez, drummer Robby Blue Note Jul. 3rd with Conrad Herwig, Orchard Beach Chose Vacille”. On “Dissimulable”, they converge so Ameen and percussionist Richie Flores, the flutist Stage Jul. 17th and Saint Grant’s Tomb Jul. 31st with quickly on an ascending-then-descending run that it soars with the ease that comes when playing in a NJMH Afro-Cuban All Stars. See Calendar. Chihiro Yamanaka Trio featuring Bernard Purdie CD “Forever Begins” (Universal/Decca) Release Party

Chihiro Yamanaka (piano) Trio featuring Bernard Purdie (drums) Thursday, June 30: The Iridium 8 & 10 pm, $25 theiridium.com 1650 Broadway (51st) 212 582 2121 chihiroyamanaka.com

THE NEW YORK CITY JAZZ RECORD | July 2011 17

Klippe/One Tiresias (with , Michael Bisio) Thomas Heberer (NoBusiness) Louie Belogenis Trio (Porter) by Clifford Allen by Jeff Stockton

Brooklyn-based and Cologne-reared trumpeter and In a crowded field of jazz tenor saxists Louie Belogenis composer Thomas Heberer has been making subtle has distinguished himself as an original voice in the Fri, Jul 1 CANADA DAY: MICHAEL BATES TRIO 9PM waves on the improvisational music scene since the style forged by Albert Ayler and late-period, Ayler- JD Allen, Jeff Davis CANADA DAY: THE EXPAT ENSEMBLE 10:30PM late ‘80s and been regularly associated with the Dutch influenced, John Coltrane. Belogenis has come to this Owen Howard, Andrew Rathbun, Dave Smith, Aidan O’Donnell Orchestra since the ‘90s. His style honestly, having previously participated in Sat Jul 2 DAN LOOMIS QUARTET 9PM Robin Verheyen, Loren Stillman, Jared Schonig work as a solo artist and as a leader of small groups is tributes to these artists organized by his frequent SPOKE 10:30PM less well known, especially on these shores. That partner, the late drummer Rashied Ali. On Tiresias, Justin Wood, Andy Hunter, Dan Loomis, Danny Fischer Sun Jul 3 ERI YAMAMOTO TRIO 8:30PM should change with the chamber trio Clarino, which Belogenis partners with the man who practically Dave Ambrosio, Ikuo Takeuchi joins Heberer with bassist Pascal Niggenkemper and invented avant garde drumming, Sunny Murray, along Mon Jul 4 AMRAM & CO 8:30PM David Amram, Kevin Twigg, John de Witt, Adam Amram clarinetist Joachim Badenhorst on nine instant with bassist Michael Bisio, to reimagine Ayler’s Tue Jul 5 JULIA PATINELLA AND TRIO MATAPENA 8:30PM compositions that use the leader’s “cookbook” form of Spiritual Unity trio (in which Murray played). Mariel Berger, Diego Obregon notation. This trio is represented on one of two LPs, Murray’s participation is the only thing that ‘AFRO-PERUVIAN SKETCHES’ 10PM Pedro Rodriguez, Pablo Menares, Hector Morales; Jean Rohe, Host. Klippe. The remainder of the set is dedicated to solo explicitly links the five improvisations here to the Wed Jul 6 THE GLOBAL LIVING ROOM FESTIVAL: music and titled One. Ayler trio’s masterwork. The single cover is Coltrane’s CATARINA DOS SANTOS 8:30PM Marcos Vigio, Leco Reis, Robert di Pietro As Heberer notes in the liners, “cookbook…allows “Alabama”, so what this trio is tapping into is the SEBASTIAN CRUZ AND THE CHEAP LANDSCAPE 10PM for the highest amount of freedom on the musicians’ spaciousness, reflective tempos and extra-sensory Stomu Takeishi, Ted Poor; Jean Rohe, Host. Thu Jul 7 THE GLOBAL LIVING ROOM FESTIVAL: SHUSMO 8:30PM side while incorporating significant structural tools on interplay for which Ayler (as well as Coltrane) were Tareq Abboushi, Hector Morales; Jean Rohe, Host. the composer’s side as well. [It] does so by searching. Belogenis, Murray and Bisio aim for a state PETR CANCURA LONESOME QUARTET 10PM Kirk Knuffke, Garth Stevenson, Robert Dipietro implementing the idea of instant memory.” Heberer’s of suspended grace and they get it, but what comes Fri Jul 8 AMANDA BAISINGER 9PM & 10:30PM music for trio is intense and dusky, moving in ways not through most clearly in this music is flow. The Ryan Scott, Pete Rende, Chris Morrisey, Dave Burnett necessarily associated with jazz, often parceling out improvisations sound seamlessly knit together and Sat Jul 9 ARI HOENIG QUARTET 9PM & 10:30 PM Gilad Hekselman, Shai Maestro, Orlando Le Fleming themes that recall contemporary concert music. It does Murray is integral to this process. His rhythms float on Sun Jul 10 PASCAL NEW FIELD 8:30PM not take long for the bright, crackling volleys of the cymbals but are grounded by a pounding bass Pascal Niggenkemper, Robin Verheyen, Scott DuBois, Jeff Davis NATHANIEL SMITH QUARTET 10PM Heberer’s language to snake out on “Mole”, bouncing drum and he presents a clinic in touch. Bisio is equally Jake Saslow, Sam Minaie, Toru Dodo off the pensive, woody walk assembled by subtle, drawing sonorous low notes with his bow and Mon Jul 11 WASHINGTON SQUARE WINDS WOODWIND QUINTET 8:30PM Caryn Freitag, Yamashiro, Elyssa Plotkin, Anna Morris, Casey Cronan Niggenkemper and Badenhorst. Wound harmonic anchoring the tunes with rich and emphatic plucks. Tue Jul 12 LAINIE COOKE 8:30PM pops bounce off of delicate reedy cycles, poles in If the touchstone is Ayler, Belogenis’ playing isn’t Onaje Allan Gumbs, Elias Bailey, Matt Wilson between which the trumpeter’s swagger builds as broad, nor his timbre as extreme, but he finds the Wed Jul 13 ALAN HAMPTON PRESENTS “THE FAMILY TREE” FEATURING...ALAN HAMPTON 8:30PM & JOSH MEASE 9:30PM forward motion. “Insel” pits nasty bass clarinet sputter correct middle range by positioning himself inside Thu Jul 14 MARC OSTROW: MUSIC IS SPOKEN HERE 6PM and metallic scrawl against muted sashays, the Murray’s insistent murmur and wrapping his sound TIM KUHL’S DOOMSAYER CD RELEASE SHOW 8:30PM Michael Formanek, Ben Gerstein, Jonathan Goldberger, formidable bowed and knocked masses of around Bisio’s quietstorm strum. The recording quality Frantz Loriot, Jonathan Moritz Niggenkemper’s bass providing stewing support. itself enhances the overall sonic effect by accurately Fri Jul 15 MATT MITCHELL 9PM & 10:30PM Tim Berne, Oscar Noriega, Mary Halvorson, John Hébert, Tomas Fujiwara Heberer’s lines evoke classical simplicity only to capturing Murray’s now-you-see-him-now-you-don’t Sat Jul 16 MARIO PAVONE: ARC SUITE MUSIC 9PM & 10:30PM fragment it in brash stutters on “Kleiner Bruder”, offset phantom percussion, Bisio’s nuanced tastefulness and Tony Malaby, Dave Ballou, Craig Taborn, Michael Pavone, Matt Wilson by what amounts to an oddly precise wander, bass and Belogenis’ appropriately strained-yet-forceful tone. Sun Jul 17 SAM TRAPCHAK - PUT TOGETHER FUNNY 8:30PM Tom Chang, Greg Ward bass clarinet glomming together only to act Belogenis pushes the limits of his tenor, but not too Mon Jul 18 ERIK DEUTSCH & ALLISON MILLER QUARTET 8:30PM independently moments later. much and the calmness at the center of this music , Trevor Dunn One, unlike other albums of Heberer on his own, is makes it at once an easy go and a profoundly moving Tue Jul 19 PETE MCCANN 8:30pm John O’Gallagher, Henry Hey, Matt Clohesy, Jordan Perlson unadorned by electronics as he stretches out on ten - almost sublime - listening experience. Wed Jul 20 SEBASTIAN NOELLE’S KOAN 8:30PM pieces for unaccompanied Bb concert and quarter-tone Loren Stillman, George Colligan, Thomson Kneeland, Tony Moreno trumpet. These tracks are not just gimmicks, but a For more information, visit porterrecords.com. Belogenis is Thu Jul 21 TOM CHANG QUARTET 8:30PM Greg Ward, Matt Clohesy, Rob Garcia concise exploration of what can be done with breath at University of the Streets Jul. 2nd and The Stone Jul. 5th. Fri Jul 22 CARLO DEROSA’S CROSS-FADE:BRAIN DANCE 9PM & 10:30PM and instrument in a solo setting. To be sure, there is See Calendar. Mark Shim, , Marcus Gilmore Sat Jul 23 BEN MONDER TRIO 9PM & 10:30PM nothing of ‘traditional’ trumpet playing here, Heberer Gary Versace, Ted Poor using multiphonics, circular breathing and split tones Sun Jul 24 BOBBY AVEY QUARTET FEATURING MIGUEL ZENON 8:30PM to create apolarity between husky lilt and nattering Miguel Zenon, Thomson Kneeland, Jordan Perlson Mon Jul 25 KENNETH SALTERS SEXTET 8:30PM high-pitched whine on the opening “Bone”. Thin spits JOONSAM LEE QUARTET 10PM broaden into near-bilious stammer on “Network”, Tue Jul 26 ANDREW RATHBUN’S IDEA OF NORTH 8:30PM Nate Radley, Gary Versace, Jay Anderson, Michael Sarin punctuated by audible inhalations as Heberer occupies Wed Jul 27 “MIKE + RUTHY’S FOLK CITY”:THE SILVER HOLLERS 8:30PM a distinct notch alongside Albert Mangelsdorff and Amy Helm, Elizabeth Mitchell, Daniel Littleton, Byron Isaacs, Ruthy Ungar Axel Dörner. One isn’t an effort to make the trumpet Thu Jul 28 NIKOLAJ HESS TRIO 8:30PM Johannes Weidenmueller, Gregory Hutchinson sound like something else entirely; rather, what Fri Jul 29 MARY HALVORSON QUINTET 9PM & 10:30PM Heberer does is imprint an expanded vocabulary and Jonathan Finlayson, Jon Irabagon, John Hébert, Ches Smith imbue it with physical challenges, all the while Sat Jul 30 TIM BERNE TRIO 9PM & 10:30PM Matt Mitchell, Dan Weiss retaining (and perhaps even strengthening) a literalist Sun Jul 31 JOCELYN MEDINA’S “WE ARE WATER” CD RELEASE SHOW 8:30PM message. Rising and falling huffs, clarion bugle-calls Chris Ward, Hadar Noiberg, Nir Felder, Chris Tarry, Ziv Ravitz and variably-inflected tone rows mesh with buggy whine and subtonal growl, often ending up woven into quite beautiful lines. Klippe/One is a perfect place to get acquainted with Heberer’s art and hopefully his recognition on his own will continue to increase.

For more information, visit nobusinessrecords.com. Heberer is at The Stone Mondays with . See Calendar.

18 July 2011 | THE NEW YORK CITY JAZZ RECORD september 4 sun 2pm Coast to Coast Septet featuring NEA Jazz Master Jimmy Cobb with vocalist Mary Stallings The Mingus Orchestra conducted by NEA Jazz Master Jimmy Cobb

8pm Sing the Truth: Angelique Kidjo, Dianne Reeves and Lizz Wright continue the Legacy of Great Women Vocalists at Tanglewood with all-star band Geri Allen, Mary Stallings Terri Lyne Carrington, James Genus, Munyungo Jackson and Romero Lubambo

september 2 fri, 8pm Café on Main Angelique Kidjo Dianne Reeves Lizz Wright Robin McKelle Quartet Michael Kaeshammer Quintet $19 – 77 $34 Robin McKelle Michael Kaeshammer tickets • one day lawn pass 888-266-1200 • tanglewood.org between lenox and stockbridge, ma september 3 sat tanglewood jazz café 2pm Live taping of Judy Carmichael’s Jazz Café artists include Cedric Henriot, Rebecca Martin, Sarah Manning and “Jazz Inspired” with host Judy Carmichael Ulysses Owens, Jr. Writer Bob Blumenthal will interview percussionist John Santos and actress Blythe Danner and special and NEA Jazz Masters Jimmy Cobb and Gunther Schuller and conduct a session on jazz vocalists titled “Listen Here.” All are free with a ticket to the main stage event. guests from the worlds of Jazz, Broadway, Judy Carmichael Blythe Danner or Hollywood to be announced. NEA Jazz Masters Live is a program of the National Endowment for the Arts in 8pm A Latin Jazz Tribute to Cachao with partnership with Arts Midwest, that celebrates the living legends who have made Federico Britos Sextet and John Santos exceptional contributions to the advancement of jazz. Sextet as featured in the “American Masters”/ PBS documentary tanglewood wine & food classic “Cachao: Uno Mas” Federico Britos John Santos september 1 – 4 grand tasting saturday, september 3 For details, visit tanglewood.org.

723 7th Ave. 3rd Floor, New York, NY. 10019 212-730-8138 Store Hours: 11-7 Monday-Friday & 11-6 Saturday Owner: Steve Maxwell Manager: Jess Birch Steve’s cell: 630-865-6849 Email: [email protected] Visit us on the web at: www.maxwelldrums.com NEW YORK'S ONLY TRUE VINTAGE AND CUSTOM DRUM SHOP Our philosophy for the shop is to create an inviting atmosphere where players and collectors alike can visit and see wonderful vintage and custom drums and cymbals that you can't find anywhere else; enjoy listening to some jazz vinyl while hanging in the drummer's lounge area of our museum; and exchange ideas and information with friends. We even have sound proof rooms for testing cymbals, drum sets and snare drums. Our sets, snares and cymbals are set up and ready for you to play. We believe in the highest level of personal, professional service and we have the experience you need when considering vintage and custom drums and cymbals. Call Steve on his cell anytime, or email him at [email protected]. He wants to hear from you. Our shop includes: • Craviotto: World’s largest selection of Craviotto one-ply snares and drum sets. We are the largest Craviotto dealer in the world. • Vintage: Extensive inventory of high end vintage snare drums, sets and cymbals. We have vintage Gretsch, Rogers, Slingerland, Ludwig, Leedy, Camco and more! • Player’s Specials: Snares, sets and cymbals focused on the needs of players • Gretsch: USA Custom drums in bebop sizes made famous by the 60s era jazz greats • Leedy: Our Leedy USA Custom Shop drums will debut in NYC later this year • Ludwig: specializing in the USA-built Legacy series • George Way: We are your source for Ronn Dunnett’s great new George Way snares • Maxwell: Our Maxwell line of custom drums includes small bebop sets and more. • Heads, hardware, sticks, bags and more Cymbals: We have Istanbul, Bosphorus, Zildjian, Old As, Old Ks, Spizzichino, Sabian, Paiste, Dream and more! New and vintage cymbals galore. Stop in and see our museum section with original sets, snares and cymbals owned by Elvin, Buddy, Krupa, , , and many more! Recording Studio Support: Enormous selection of vintage and custom drums to suit the needs of any recording studio looking for that special, unique sound. Need that “vintage” drum or cymbal sound? Come see us. We have what you need. Need a versatile but unique custom drum sound? We have that as well with our Craviotto solid shell drums. None finer in the world. NYC DRUMMERS, WE HAVE DRUM SET PRACTICE. SPACE AVAILABLE FOR RENT ON AN HOURLY BASIS. CALL JESS AT 212-730-8138 FOR DETAILS. TEACHING STUDIO IS OPEN

communicate. His tunes are complete concepts and his driving rhythms all careening up against each other. charts are clean, with precisely intersecting parts and The variety of compositional structures on display graceful movements. The only disappointment is that across this disc are impressive and the energy with Hoffman does not fully exploit the resources of the which the musicians bring these works to life is ear- nonet format. The additional horns are used mostly for grabbing. Having each found their way to the Bay Area weight in the theme statements. Essentially only three from disparate locales, they have created a cohesive players solo: Hoffman, trumpeter Dwayne Clemons band with a sense of teamwork and a love of innovation and pianist . and tradition, both shared and personal. The band Those solos are the raison d’être for Dark Lights. functions so well as a unit because it is made up of Good Eats (Tribute to Lou Donaldson) Hoffman continuously unleashes improvisations like individuals enjoying each other’s ideas and discoveries. Mark Rapp’s Melting Pot (Dinemec) the one on “Evil Eye”: extended, detailed, complex, by Alex Henderson finished statements. Clemons is a revelation. His For more information, visit cleanfeed-records.com. This trumpet sound is tart and confrontational and every group is at Barbès Jul. 6th, Douglass Street Music Collective Interesting and memorable jazz tribute albums are not solo is a tipping, teetering adventure that resolves in Jul. 9th and The Stone Jul. 10th. See Calendar. about knee-jerk emulation; they are about victorious declamations. On “Celeste’s Swing” and interpretation. And trumpeter Mark Rapp does a lot of “Fragment”, he could be a respected peer of Howard interpreting on Good Eats, which pays tribute to Lou McGhee and Kenny Dorham, transported to our time. Donaldson - a fine alto saxophonist who started out as As for Perry, drawing on forebears like Monk and a Charlie Parker disciple before evolving into a funky, Frank Hewitt, he sounds only like himself. Usually he groove-minded, R&B-influenced contributor to soul careens ambiguously sideways, deadpan and ironic, jazz. This album includes six Donaldson compositions, like on “Hurricane Sacha”. Sometimes, like on “Evil songs that Donaldson had in his repertoire but didn’t Eye”, he spurts and lurches and uncovers chiming write (including William J. Hill’s “The Glory of Love” internal melodies. and ’ theme from the ‘70s sitcom Sanford and Son) as well as Rapp’s boogaloo-ish title track. For more information, visit smallsrecords.com. Hoffman is at Good Eats differs from Donaldson’s output in a Smalls Jul. 5th and 19th, Fat Cat Jul. 9th and 17th and The number of ways. First, there is no alto sax (Don Braden Garage Jul. 26th. See Calendar. plays tenor sax or alto flute on some of the selections) and half of the tracks don’t contain any saxophone at all. Second, organist Joe Kaplowitz brings some Larry Young influence to the table (instead of the more typical type of approach). And then there is Rapp’s playing; instead of the expected big, fat tone of a , Woody Shaw or Freddie Hubbard, Rapp adds a Miles Davis-influenced aesthetic to VVjuly11 6/16/11 2:12 PM Page 1 “Elizabeth”, “Pot Belly” and other Donaldson tunes. Good Eats is relevant to , but also postbop and fusion. And while Rapp’s arrangements of Cylinder “Brother Soul”, “Elizabeth”, “Spaceman Twist” and THE VILLAGE Darren Johnston//Lisa Mezzacappa/ “Alligator Boogaloo” aren’t ultra-cerebral, they are Kjell Nordeson (Clean Feed) VANGUARD certainly more so than Donaldson’s original versions. by Wilbur MacKenzie www.villagevanguard.com With its healthy balance of intellect and groove- � JUNE 28TH - JULY 3RD � oriented accessibility, Good Eats is a consistently Cylinder is a collective quartet based in San Francisco, intriguing celebration of Donaldson’s legacy. with an ensemble dynamic that echoes Ornette RENEE ROSNES Coleman’s classic quartet without foregoing each For more information, visit markrapp.com. Lou Donaldson individual’s unique voice as an instrumentalist and RICH PERRYQUARTET - - is at Birdland Jul. 5th-9th. See Calendar. composer. The four musicians each come from disparate locations in the US and and each � JULY 5TH - JULY 10TH �

brings to the ensemble an eclectic background of musical vocabularies. THE The challenge with a record by four leaders who HEATH BROTHERS all compose for the band is to create a sound that both - ALBERT “TOOTIE” HEATH represents the distinct characters of the composer/ JEB PATTON - DAVID WONG performers, but also puts forth a general consensus of � JULY 12TH - JULY 17TH � creative direction. Saxophonist/clarinetist Aram Shelton’s history with Chicago inevitably leads a SAM YAHEL listener to draw comparisons between the Association for the Advancement of Creative Musicians and MATT PENMANTRIO - JOCHEN RUECKERT Dark Lights Shelton’s colorful and spacious composition style, Alex Hoffman (Smalls) � JULY 19TH - JULY 24TH � by Tom Conrad with “Four Thoughts” and “Skipped Rocks” both offering an enchanting blend of abstraction, freedom FRED HERSCH Alex Hoffman’s enters Dark Lights’ and lyricism. Drummer Kjell Nordeson sounds opening track, “Night Jaunt”, with a clarion, optimistic amazing on the latter and the Swede’s own JOHN HÉBERTTRIO - ERIC McPHERSON announcement that comes from an earlier, more compositions are beautiful, “Shells” brimming with trusting milieu than our own. The little big band energy and drive and “Sung By Dogs” mixing melodic � JULY 26TH - JULY 31ST � around him sounds so suave we might be listening to a intrigue with some great extended techniques from octet recording from the ‘50s. But the trumpeter Darren Johnston. sound is too good. And the liner notes say that Hoffman Johnston’s compositions probably most directly SEPTET came to New York to go to college only six years ago. call to mind Ornette Coleman’s unlikely melodic CHRIS CHEEK - BILL McHENRY - STEVE CARDENAS Dark Lights is Hoffman’s debut as a leader and just structures, with the themes of “The Ear That Was Sold MAT MANERI - JACOB SACKS - THOMAS MORGAN his third time on record. It is unusual. Hoffman is a To a Fish” and “Sink Town” floating over a propulsive � COMING IN AUGUST � young player deeply rooted in the original language of rhythm. Bassist Lisa Mezzacappa’s prodigious TRIO - GREG OSBY bop. It is ambitious. All the tunes are Hoffman originals technique lends the ensemble firm footing and a JENNY SCHEINMAN - JD ALLEN arranged for nonet. It is impressive. Hoffman has flexible poise that enables fluidity of motion. Both her MONDAY NIGHTS ARE RESERVED FOR internalized much musical history and speaks bop arco and pizzicato playing are buoyant, assured and THE VANGUARD JAZZ ORCHESTRA fluently, with passion and new millennium inflections. consistently engaging. Her “The Deep Disciplines” MONDAY THRU SUNDAY He is an exciting soloist because he always sounds like sets up a variety of ensemble shapes in the composed 9PM & 11PM STEINWAY & SONS he is being pushed hard from within by his need to sections, with sharp unisons, wobbling trills and 7TH AVE. SOUTH AT 11TH STREET 212-255-4037

20 July 2011 | THE NEW YORK CITY JAZZ RECORD

With Carbon later on adopting repetitive organ- like lines from a sampler/keyboardist, stylized guitar riffs and seemingly inexhaustible multiple percussion beats, other memorable tracks stay far away from rock- like replication by introducing novel concepts. For example, “Not-Yet-Time”, a score to a dance piece from 1985, uses electronic distortions to mold and color the underlying theme. While the drummers’ shuffles are still dense, they’re lightened by mulched textures from

The Age of Carbon the overdubbed reeds, as well as Sharp’s distinct Elliott Sharp (Intakt) finger-styled runs. With the use of a graphic score and by Ken Waxman instruction sets, “Jump Cut”, from 1990, shows another path the band could have followed. Percussive clip- From 1984-91 guitarist Elliott Sharp stood the clops and what sounds like hammering on a thunder conventions of rock, improv and notated music on sheet are balanced by a sluicing electric bass solo, a their heads with his percussion-heavy Carbon band. wash of keyboard harmonies and guitar pyrotechnics. Using overdubs to add greater density to the match of The tracks on The Age of Carbon can be split in half. his double-neck guitar and reeds with at least three Many are admirable enough to stand up to repeated percussionists, plus brass players, an electric harpist listening. However a high majority of the others relate and sampler exponents, he created a sound that was so clearly to the big beat-obsessed musical ideas of uniquely audacious. their time that carbon dating wouldn’t be necessary to Listening to the 49 tracks, which last from 31 situate them historically. seconds to more than 18 minutes, on this three-CD retrospective, the suspicion remains that the band’s For more information, visit intaktrec.ch. Sharp is at The salad days were at its beginnings. Certainly the early Stone Jul. 7th in duo with Mary Halvorson. See Calendar. arrangements, which encompass polyrhythmic positions from each of three drummers (Mark Miller, Charles K. Noyes and David Linton), introduce a refreshing variety to the lengthier tunes. But by the ‘90s, when Joseph Trump and Samm Bennett were more often behind the kit, the relentless thumping could easily have been transferred onto any stripped- down pop-rock session of the day without disruption. Other players’ contributions make a difference however. “Singularly” on Disc 3, for instance, manages to be both abstract and authoritative in a sparse setup Voice of My Beautiful Country when drummer ’s paradiddles and René Marie (Motéma Music) thumps intensify Sharp’s power-chording. by Joel Roberts The early Carbon was also more daring, as Sharp utilized his reeds almost as frequently as his guitar. René Marie didn’t begin singing professionally until Echoing riffs from overdubbed horns mix with strident she was past 40. But she’s certainly made up for lost guitar licks on a tune such as “Iso”, even while the time over the past decade and a half, establishing hefty beats from the live drummers separate and unite herself as one of the music’s premier vocalists with a throughout. Inspired by fractal geometry, “Self- sensuous style that mixes blues, soul and gospel with a Squared Dragon” finds Sharp’s fuzz tones and reverb strong respect for the jazz tradition. She’s also an extended with banjo-like fills and bass-string buzzes in actress and activist and, in the tradition of a stop-time extravaganza enlivened by brays from Jim and , a jazz singer who directly addresses Staley’s trombone. Staley and Ken Heer on trombones, social issues in her music. tubaist Dave Hofstra and additional percussionists Her latest release is one of her best yet, a deeply also help define the multi-part “Sili/Contemp/Tation”, personal and thoughtful exploration of the many recorded live at The Kitchen. As the percussionists colors of American music. The set list is one of the most bang away in different tempos, Hofstra’s pedal-point diverse and seemingly mismatched you’re likely to blasts provide the continuum while Sharp’s trebly see, ranging from Tin Pan Alley (’s guitar distortion slowly moves up the scale. The “Imagination”) to Motown (The Temptations’ “Just My interjection of glottal stops from the brass keeps the Imagination”) and from 19th century folk music (“Oh percussion backbeat from overwhelming the narrative. Shenandoah”) to ‘60s acid rock (The Jefferson Airplane’s “White Rabbit”). But Marie, joined by her longtime trio (pianist Kevin Bales, bassist Rodney Jordan and drummer Quentin Baxter), reworks and reimagines these tunes, making each one entirely her own and finding the common thread that makes them all part of the American fabric. The album’s focal point is the title suite, a rousing and soulful reading of the patriotic standards “America the Beautiful” and “My Country ‘Tis of Thee”, along with her highly original version of the national anthem, which features the lyrics of the spiritual “Lift Every Voice and Sing” (long known as the “Black National Anthem”) set to the melody of “The Star Spangled Banner”. Marie created a stir when she sang this arrangement at a Denver civic event three years ago, but this simple, yet powerful musical statement certainly gets its message across. It’s a fitting and dramatic conclusion to one of the most ambitious and successful jazz albums of the year.

For more information, visit motema.com. Marie is at Jazz Standard Jul. 7th-10th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | July 2011 21

Rotondi, Bobby Durham and Eric Alexander as well as a number of important French musicians. His new recording, The Music of Horace Silver, with countrymen pianist Laurent Courthaliac and bassist Matthias Allamane, along with New York drummer Joe Strasser, heralds a very significant benchmark in his development as a musician and composer. A golden homage to legendary pianist/composer Horace Silver, a prolific leader and important sideman

Lines of Oppression with such players as Art Blakey, Miles Davis and Hank Ari Hoenig (Naive) Mobley, Brouqui’s synergistic quartet accomplishes by Elliott Simon Silver’s command from his autobiography Let’s Get to the Nitty Gritty: “Do your thing with it. Keep the music Not to say that drummer Ari Hoenig needed a change alive, pure and progressive.” The spirit of Silver is but in a move that is perhaps more reflective of thoroughly present in the glorious melodic sweeps and maturity and experience than it is of musical direction, rhythms channeled by Brouqui’s group, almost as Lines of Oppression is squarely about the band. During good as any in which Silver participated from the mid the past 10 years Hoenig has showcased his unmatched ‘50s-late ‘60s. polyrhythmic mastery and uncanny ability to coax Brouqui’s debut as a leader for Elabeth Records melody out of his drumset. In the process, he has resoundingly echoes the vibe of Silver’s quintet when become one of NYC’s top drummers. Here both pianist it played the streets of New York in the early days of Tigran Hamasyan and guitarist Gilad Hekselman as the late Dr. ’s Jazzmobile flat-bed truck and well as bassists Orlando Le Fleming and Chris Tordini Slugs in East Village. combine for a very entertaining group effort. In addition to presenting two original works - Like Hoenig, both Hekselman and Hamasyan are “Love Walk” and “I Remember Dan” - Brouqui striking in their virtuosity, making the group ethos all skillfully avoids the temptation of retransmitting some the more refreshing. The session could easily have of Silver’s most famous pieces and instead masterfully devolved into a showcase of solos but while the licks interprets and advances the reach of lesser-known and chops are present, the groove is melodic and often works such as “Horacescope”, “Yeah” and “Sweet times downright pretty. The opening title track, with Stuff”. No mere imitation - though quite flattering to its repetitive hook and 11-minute length, is a custom- Silver - it’s an interpretative, stylized and unabashedly made forum for Hekselman. He excels with piercingly glamorous journey of dazzling solos and harmonious complex electric runs but the band never loses sight of rhythms. the tune. A middle diversion led by Hamasyan’s off- center interpretation of the melody solidifies as much For more information, visit elabeth.com. A Horace Silver as it charts a new direction. tribute is at Smoke Jul. 8th-9th. See Calendar. Many of the remaining songs are similarly constructed. The frenetic “Arrows and Loops”, with its hints of Eastern Europe, has Hamasyan dancing with speed and precision without sacrificing composition before the band coheres, both instrumentally and vocally, around the delicately lovely theme of “Wedding Song”. The requisite forum for Hoenig’s drum-singing technique is ’ “Moanin”, which evolves into a nicely-put-together vehicle for group improv before the band congeals around the eerie motif of “Loves Feathered Nails”. Things close with an interesting juxtaposition of the standard “How High the Moon” and the original “Higher to Hayastan” for a rocking redux tribute to some Armenian roots. It remains to be seen if this is a step in a new direction or a pause along the way but Lines of Oppression is Hoenig’s strongest statement of leadership yet.

For more information, visit naive.fr. Hoenig is at Smalls Jul. 4th, 11th, 18th and 25th and Cornelia Street Café Jul. 9th. See Calendar.

The Music of Horace Silver Yves Brouqui +3 (Elabeth) by Francie Scanlon After a quarter-century as a professional musician, French guitarist Yves Brouqui has arrived - big-time! Since his initial time in New York in the early ‘90s, spent ensconced in the Smalls scene, Brouqui has toiled with the likes of Grant Stewart, Spike Wilner, Jim

22 July 2011 | THE NEW YORK CITY JAZZ RECORD The Throes High Society Nate Wooley/Taylor Ho Nate Wooley/ Bynum (CIMP) (Carrier) by Robert Iannapollo We are fortunate to be living in an era with several young, accomplished improvising trumpeters ready to assert their voices in the future history of the instrument. Three are featured in this review: Nate Wooley, Taylor Ho Bynum and Peter Evans. Although very different from each other, they have several things in common: they are each strong technical players; each are willing to experiment and take risks and have derived inspiration, not only from the obvious trumpet sources (Armstrong, the Ellingtonians and the bop technicians) but also from innovators like Bill Dixon, Wadada Leo Smith and . And they collaborate with fellow trumpeters. Wooley and Bynum are willing to the point of forming a group and writing compositions for the band. The Throes was recorded after almost two years of performing together. The rhythm sectioneers of bassist and drummer Tomas Fujiwara were unfamiliar with each other when the group started but here they work in tandem to support, prod and drive the co-leaders. It’s easy to tell Wooley from Bynum since the latter is playing cornet throughout and they blend the two horns nicely when playing simultaneously. The program consists of two pieces by Wooley, two by Bynum and one each from Filiano and Fujiwara. Wooley’s two contributions include a smartly bopping piece of West Coast-influenced cool, “Face To The Sun”, and the concluding slow, beautiful exercise in tonal distortion, ”Back To My Steel”. The compositions are separated by improvised duets from various members of the group. The Throes is an excellent blend of both the accessible and adventurous approach to contemporary jazz and it’s a good disc to check out the varied styles of two of the best trumpeters playing today. And then there’s the duo of Wooley with Peter Evans. Wooley has intrepidly explored more hard- edged areas: the two Blue Collar discs with and Tatsuya Nakatani and the Silo disc on Utech are good examples. And he uses electronics in his setup, most notably in his duets with British drummer Paul Lytton. Evans, while a game free improviser, is less inclined toward electronics. But on High Society, the two plug into guitar amps and blow and blow hard and they don’t let up. High Society is all about extended technique, breath, vocalization, feedback, the percussive popping of valves and any alien sound the instrument can make. While the music is aggressive, assaultive at times, there are also moments of variegation. “I” seems to be the most succinct piece with its boiling tea kettle opening, extended wall of sound feedback and subsonic, pulsing conclusion. While there are precedents of this style of playing in Wooley’s discography, Evans’ fans from albums might be a bit startled by this approach at first. Most people will probably be dismissive but it’s really quite a brilliant display of trumpetronics by two players who seem to be enjoying the hell out of performing it.

For more information, visit cimprecords.com and carrierrecords.com. Wooley is at The Stone Jul. 12th and 15th with Adam Lane and as a leader, Clemente Soto Velez Jul. 18th and I-Beam Jul. 29th and Café Orwell Jul. 30th, both with James Falzone. See Calendar.

THE NEW YORK CITY JAZZ RECORD | July 2011 23 how Houston Person’s hot tenor saxophone recalls the The title track has the promise of energy and voice of his late, longtime musical partner, vocalist eccentricity that the band name seemed to suggest. Etta Jones. That honking furnace heat continues After the quintet throws a melodic head fake in the through three more hot instrumentals, providing a song’s first half, a guttural rumble, then full-blown lead-up to a series of vocals by Jones. On that Ellington shout, by Chang takes the tune into second gear. classic and throughout, pianist Stan Hope delivers Trapchak and company morph into an unbridled swinging accompaniment and prime solos. garage band: Chang blares his chords, Ward screams at Jones, a veteran R&B singer with nonpareil blues the top of his lungs and delightful chaos ensues. This and jazz skills, recorded this set live about a year and a song defines what Put Together Funny is all about: jazz Power Play All Wrapped Up half before she passed in 2001. Jones’ delivery of “Fine played with a rock and roll heart and a free sensibility, Jared Gold and Mellow” is a salute to one of her mentors, Billie down to the last notes. (Posi-Tone) (Posi-Tone) Holiday. What’s evident is how she shared a blues feel by Ken Dryden and a way of twisting notes with Holiday that is as For more information, visit samtrapchak.com. This group is distinctive as it is satisfying. Jones also had a great at Cornelia Street Café Jul. 17th. See Calendar. While many of his Posi-Tone labelmates are young sense of humor, clear when she ends the tune with a lions and lionesses, saxist Ralph Bowen has made his brief 12-bar imitation of Lady Day. As an homage it is mark since arriving on the New York City jazz scene in as witty as it is spot-on. AMANDA the late ‘80s. He has recorded with Benny Carter, Together she and Hope transform “I Could Have Horace Silver, Ralph Peterson, Jr., Michel Camilo, Danced All Night”. She stretches and honks the notes Steve Wilson and Anthony Branker, to name just a few. of “danced and danced and danced”. Nothing is ever MONACO 3 Power Play is Bowen’s seventh CD as a leader and just a throwaway with these pros. Even with a bit of WITH he’s joined by a strong rhythm section consisting of fluff like “Ma, He’s Makin’ Eyes At Me”, she and MICHAEL ATTIAS pianist , bassist Kenny Davis and drummer Person give a shout-out performance that transforms it Donald Edwards. Bowen’s big toned tenor is the into a rocking interlude. SEAN CONLY centerpiece of his brisk hardbop vehicle “K. D.’s Blues” The closest Jones ever came to having a hit record as he gradually moves from building upon the initial was in 1960 with her version of “Don’t Go To Strangers” riff to a rapid-fire run introducing Evans’ more (from the Prestige album of the same name). On this TOMI JAZZ conventional (but no less powerful) solo. “The Good recording it’s an even more stripped down version of July 5th Shepherd” initially sounds like an Irish jig recast in a this Redd Evans/Arthur Kent/Dave Mann blues. A postbop setting, though it quickly evolves into a wild powerhouse rendition by a great singer, she inhabits 9 & 10:30PM $10 exploration by Bowen with Evans sitting out as Davis the song in a way that speaks in no-frills style to 239 East 53rd Street and Edwards fuel the leader’s fire. The infectious decades of singing and living by a deep soul. “Drumheller Valley” is constructed upon a simple riff, though this driving work quickly builds steam into a For more information, visit jazzdepot.com. Person is at powerful performance by the quartet. Bowen switches Grant’s Tomb Jul. 13th as part of Jazzmobile, Jazz Standard AMANDAMONACO.COM to soprano for his soft ballad “Jessica” and the Jul. 14th-17th and 92nd Street Y Jul. 19th. See Calendar. bittersweet “A Solar Romance”. The sole standard is a deliberate, elegant arrangement of “My One and Only Love” that showcases Bowen’s lyricism. Organist Jared Gold has made great strides during his brief career as a leader. For All Wrapped Up, his fourth Posi-Tone CD, he recruited Bowen, trumpeter Jim Rotondi and drummer Quincy Davis, all seasoned, in-demand musicians. Gold’s approach to organ is fresh, drawing from earlier greats but building upon their foundation to develop his own distinctive style. He composed several originals for this date, including Lollipopocalypse the turbocharged “My Sentiments Exactly”, a piece full Sam Trapchak’s Put Together Funny (s/r) of twists that energizes the players. With a title like by Terrell Holmes “Get Out of My Sandbox”, it’s expected that a song will have a bit of humor and this funky off-center With a band named Put Together Funny and a CD composition doesn’t disappoint. “Just a Suggestion” is entitled Lollipopocalypse, one might expect a roster of equally funk-filled, with tight unison lines and whimsical and off-the-scale tunes with satire at their Bowen’s hip tenor sax in the spotlight. Each of the core. This band, however, under the leadership of sidemen contributed an original as well: Davis bassist Sam Trapchak, mostly plays splendid jazz composed the harmonically rich “Piece of Mine”; tracks spiced with rock and R&B influences. Rotondi’s slow, sorrowful “Dark Blue” has a lonely air Guitarist Tom Chang and alto saxophonist Greg and Bowen’s “Midnight Snack” is a surging, free- Ward open the call-and-response-inspired “Different spirited affair. Dance”. It begins as a tender two-step and gains momentum when the leader steps in with a swinging For more information, visit posi-tone.com. Bowen is at Zinc Bar pizzicato. Ward expands his ideas in fits and starts but Jul. 13th with Orrin Evans and Smalls Jul. 28th. See Calendar. once he finds an idea to cling to, he blows wonderfully. On the rock/R&B amalgam “On the Cusp of Cancer”

Chang drops the gloves and lets loose with atavistically distorted, burning licks over drummer Arthur Vint’s thrashing. Vint is also the support, with sticks on rims, as Trapchak puts down some funky pizzicato and Ward gets the last word, remonstrating in the upper register as the song crescendos. Ward and Chang also shine on the unconventional “Tongue and Groove”. This group has a surprising and pleasant touch on straightahead jazz. Ward plays flawlessly along the melody of “Long Live/Less Say”, with Chang adding The Way We Were (Live in Concert) lush notes with softer edges. Lilting guitar gives the Etta Jones & Houston Person (HighNote) by Andrew Vélez lovely “Losing You” an Ellingtonian dreaminess. Trapchak plays with a subtlety just above ear level What is immediately and most striking about this here and shows a fully developed and sophisticated set’s opener, “Do Nothin’ ‘Till You Hear From Me”, is rhythmic sense on “Precious Few”.

24 July 2011 | THE NEW YORK CITY JAZZ RECORD sounding very soulful and Debriano’s arco work on notes - but it is Berger’s commitment to them and his ’s “Soul Eyes”; Miller’s interpretation of meticulous integration of them into a larger piece that “Bolivia” and an energetic piece of drumwork by throws them into striking relief. Hayes on “Same Page” (an original by Debriano). Also “Miniature 8” finds the pianist running down an there is a short and a long version of the song “I Have unfurling melodic line that keeps burbling up and over Nothing Better To Do” (originally sung by Carmen expected resting points. The selection - perhaps more McRae and dedicated to her). The long version features than any other - is a striking distillation of Berger’s some heartfelt piano by Miller. method as a composer and performer. The measured, The Jazz Incorporated CD was recorded live at but unpredictably meandering, melody is featured Lou’s Idea Live at Smalls Smalls Jazz Club in August 2010 by a group with with the bare minimum of left-hand accompaniment, Louis Hayes Jazz Incorporated Hayes, trumpeter Jeremy Pelt, pianist Anthony Wonsey pausing in mid-stride before blooming once again, (American Showplace) (smallsLIVE) and bassist Dezron Douglas. The selection of material only to halt on an unexpected note of consonance. The by Marcia Hillman is a mix of two originals (one each by Pelt and Wonsey), performance sounds more spontaneous the further you songs by Duke Pearson, Art Farmer, Dizzy Gillespie get into it until the subtlest of themes reappears and a Drummer Louis Hayes keeps on going and never and one out of the Rodgers-Hammerstein songbook. crystalline structure emerges right before a whispered skips a beat. This is clearly demonstrated by Starting off with Farmer’s “Punsu” done uptempo, a ending. releases – each one with a different personnel lineup slow version of Pearson’s “Is That So?” is next, In addition to Berger’s mastery as both a composer and material. The drummer, known for his work featuring a conversational reading by Pelt and and pianist, a great deal of credit to the success of this through the years with his Cannonball Legacy Band Wonsey’s stunning piano runs covering the whole of album has to go to recording engineer and sound and various quintets under his name (as well as the keyboard. Gillespie’s “Woody ‘N You” is a standout editor Ted Orr - a former student of Berger’s at his working with just about everybody along the way), with searing trumpet, piano acrobatics, pulsing bass famous Creative Music Studio in the late ‘70s and a has found some new playmates here. and Hayes playing the melody on the drums during great musician in his own right - who manages to Lou’s Idea by the Louis Hayes Jazz Communicators his featured spot. “We Kiss In The Shadows” (from The capture every nuance of Berger’s sound in a remarkably (the group title taken from a group Hayes put together King And I) shows off Pelt’s softer side and provides a balanced and full recording. Recorded over two nights in 1965 which was “Lou’s idea”) finds Hayes joined by nice change of pace. The closer, “Shout!” (Pelt’s at the Kleinert/James Gallery in Berger’s longtime Mulgrew Miller (piano), Santi Debriano (bass), Steve original) is a blues where everyone is at his peak - the home of Woodstock, NY on a gorgeously resonant Nelson (vibes) and Abraham Burton (saxophone). The composer’s trumpet is hot and sultry, Wonsey’s piano Steinway, the audio quality is stunning. choice of material covers a wide range - all the way is smoking, Douglas’ bass rocks and Hayes continues Spurred on, no doubt, by these felicitous factors from commercial pop (Bacharach/David’s “Say A to be masterful. and his own limitless imagination as both a composer Little Prayer”) to a jazz standard such as Cedar Hayes has been quoted as saying that the drummer and a performer, Berger has succeeded in producing a Walton’s “Bolivia”, which contains rousing is the “engine playing through everything.” The engine remarkable album. Strangely Familiar quietly demands performances by all. Hayes’ talent for listening to the is running smoothly on both of these albums and the an engaged listener, but it also richly rewards it in a other instrumentalists stands out on this CD, especially listening is good, so enjoy! way that only the best creative music can. on McCoy Tyner’s “Just Feeling”, where he engages in musical conversation with Miller. There are a number For more information, visit americanshowplacemusic.com For more information, visit tzadik.com. Berger is at The of highlights to check out - Nelson and Burton and smallslive.com. Hayes is at Birdland Jul. 19th-23rd. See Stone Mondays. See Calendar. Calendar.

Strangely Familiar (17 Miniatures for Piano Solo) Karl Berger (Tzadik) by Matthew Miller “These days we live under the accelerating spell of being short on time, not having time, having to find time, making time,” writes Karl Berger in the notes to this masterful performance of 17 miniature piano compositions. “So, please, hold that space for a moment. Just relax and listen. Let yourself go there - find your Music Mind.” Berger’s invitation to enter what he describes as “a rare, quiet, natural state” where a listener can not only appreciate, but actually “participate in the spaces where I’m not playing”, is impossible to refuse from the opening notes of “Miniature 1”, an elegiac and startlingly beautiful exploration of melody through a shifting landscape of rhythmic and harmonic color. Berger’s insistent right hand keeps the focus on the thematic line while he continually recontextualizes with light bass notes and tone clusters from the left, skirting the boundaries of traditional harmony and fixed tempo, but never getting in the way of the listener filling in the blanks. Berger’s remarkable ability to blend spontaneous ideas into an intricate, but nearly always diaphanous, musical structure is what makes Strangely Familiar such an engaging listen. The melodies throughout the performances sound almost familiar in their utter simplicity and directness - “They are simply statements that want to happen,” the composer explains in his

THE NEW YORK CITY JAZZ RECORD | July 2011 25

scene that many are missing: the tendency for tenor and grainy lyricism from ’s trombone musicians to be improvising in a number of approaches while the jazzy groove of “Austral Cartography” and settings, but maintaining a personal soundscape. develops from an assortment of bass riffs languidly No one personifies this more than the prolific Chicago deployed by Nate McBride and buoying up lovely reedman Ken Vandermark, who hits the road for more relaxed solos from Vandermark and trumpeter Jaimie than half the year in an absurdly wide range of vehicles, Branch. Knowing what these folks are capable of, some spanning duets to large ensembles. may be underwhelmed, but of course like all successful On Gray Scale, Vandermark appears with two soundtracks, the intent is to support not overpower Norwegian musicians, both from the Scandinavian and to reap the full effect requires recourse to a Córdoba supergroup Atomic. Named after the final recording of screening (possible online). Pedro Giraudo Jazz Orchestra (ZOHO) reedman Jimmy Giuffre’s seminal ‘60s free improvising by David R. Adler trio, Free Fall also mimics their chamber-inclined For more information, visit smalltownsupersound.com, lineup with the Chicagoan restricting himself to kilogram.pl and multikulti.com. Vandermark is at The If one sound in bassist Pedro Giraudo’s music stands , alongside Håvard Wiik (piano) and Ingebrigt Stone Jul. 8th-9th. See Calendar. out the most, it is that of Tony De Vivo’s cajón. Håker Flaten (bass). While the group’s previous Somehow this box percussion instrument cuts through albums have featured charts from each bandmember the rambunctious reeds and brass of Giraudo’s 12-piece alongside free improvisations, on this studio set the ensemble, rooting the music in South American soil band has dispensed entirely with written compositions. but never weighing it down. All the while, Giraudo, a And the gambit pays off handsomely with one of the New Yorker since 1996, conjures rhythms and colors of band’s strongest outings, where the group ethos of intricate design, fronting a lineup that has remained austere contemporary classicism juxtaposed with remarkably steady over the years. His latest CD, energetic expression transcends the lack of paperwork. Córdoba, is the best to date: eight compositions forming Together they create wonderful synchronicities that www.innova.mu a symphony of sorts with four winds, two , would be almost impossible to plot, like the astonishing www.facebook.com/innovadotmu two trombones and rhythm (including drummer Jeff passage on “Griseus” where Håker Flaten’s muscular www.composersforum.org Davis alongside De Vivo). The only lapse: horn soloists percussive slap of string against wood is matched by are not clearly identified. Vandermark’s tongue-clicking clarinet, framing Wiik’s There’s a story underlying Córdoba, named for the insistent piano embellishment. Such convergences city and province in where Giraudo was abound and each adds unexpected flourishes. On raised. Contrasting urban and rural moods, images of “Argenteus” the clarinetist’s clarion cry stands in stark girls riding to school on horseback, the bitter taste of a relief against Wiik’s pecking piano and the bassist’s THE local tea called mate (mah’-tay): such are Giraudo’s soaring arco muttering like distant gulls to set up a DIFFERENT

inspirations, stamped with nostalgia and evoked by compelling meditative ending. Each listen to this channel Youtube DRUMMER means of indigenous rhythms such as the chacarera, excellent disc reveals fresh depths. and scan to see our zamba and baguala. There’s a pronounced folkloric Another threesome takes the stage on Last Train to Get a free QR Code App quality and a reliance on clear-as-a-bell tonal harmony, the First Station by the descriptively named Reed Trio, ...IS ON OUR LABEL anchored by Jess Jurkovic’s piano. Yet the adventurism which matches Vandermark with two Polish confreres of New York jazz bursts through, not least in the from his Resonance Ensemble. Consisting of 11 2011July.indd 1 6/17/11 3:52 PM spitfire improvisation of altoists Will Vinson and Todd spontaneous pieces, the program explores all the Bashore, trumpeters Jonathan Powell and Tatum possibilities inherent in the lineup through three duos, Greenblatt and trombonists Ryan Keberle and Mike solos for each and a handful of trios. Variety is assured Fahie, among others. through switches of personnel and instrumentation, all Giraudo is not a showy bassist, but he solos helpfully demarcated on the neatly-packaged case so fluently on “Sol Naciente” and nails complex lines on the listener can track who is playing what. Recorded in electric bass - a sound new to this group - on “Duende front of what sounds like a smallish audience, there is del Mate”, doubling with Vinson’s soprano sax to a slightly distant ambience, but it is still possible to startling effect. He brings a subtle Ellingtonian flair to hear all the intimate minutiae. All three prove the three-part “Pueblo”, adding in a marvelous chorale instrumentalists of the highest order. On his feature, passage for flutes and bass clarinet. But apart from the reedman Mikolaj Trzaska blows throaty alto saxophone finely wrought arrangements, it’s the tight and with a broad vibrato, moving from the yelping to the playfully lopsided rhythm - and the buzzing thud of lyric while clarinetist Waclaw Zimpel seems more that cajón - that gives Giraudo’s little big band its most concerned with timbre and weight of line, channeling sizable impact. didgeridoo through his bass clarinet before flowering into eloquent soliloquy. Together they contrast an For more information, visit zohomusic.com. Giraudo’s almost classical severity with multiphonics and sextet is at Barbès Jul. 9th and orchestra at 92YTribeca Jul. extreme registers in a set that doesn’t quite match the 19th. See Calendar. beautiful ugliness of Vandermark’s other reed trio Sonore with Peter Brötzmann and Mats Gustafsson, but still promises enough to make this group worth watching. Also crossing international borders is Vandermark’s first soundtrack, composed to accompany Strade d’Acqua/Roads of Water, a movie that records a journey up the Amazon by Italian director Augusto Contento. To perform his charts, Vandermark assembled a cast of frequent collaborators under the moniker Predella Group. Compared to much of the Chicagoan’s output, he utilizes simpler forms here, more often structured around steady rhythms, though Gray Scale on some numbers like the opening “Further” abrupt Free Fall (Smalltown Superjazzz) cuts increase complexity and mirror cinematic Last Train to the First Station Reed Trio (Kilogram) technique. Tim Daisy’s varied percussion is one of the Strade d’Acqua/Roads of Water key determinants of mood. His calm marimba patterns Ken Vandermark (Multikulti Project) evoke flowing water at the outset of the episodic “Sieve by John Sharpe of the Soul”, but his choppy clatter in tandem with the leader’s dissonant saxophone during “Signal” creates In these pages some months ago, trombonist Steve a more edgy vibe. A sense of restraint runs through the Swell highlighted a new paradigm of the current jazz set. “Dust Town” nurtures a gentle swing with breathy

26 July 2011 | THE NEW YORK CITY JAZZ RECORD

Can’t Lose a Broken Heart” is approached as more lark than lament. The old swing maxim that “T’Ain’t What’cha Do, It’s The Way How’cha Do It” applies, especially to songs recorded by Holiday that have never really been standards, none more so than the opening track, “Your Mother’s Son-in-Law”, from Holiday’s first recording session in 1933, when she was still a teenager. Kilgore adds the verse Holiday never recorded, Allen quotes

Live at Feinstein’s licks (who was on the original Rebecca Kilgore/Harry Allen Quartet (Arbors) session) and the two insert some scat-plus-sax shout by George Kanzler riffs in the middle, making this novelty song a bright delight. “Them There Eyes” gets a fast spin with Supper club/cabaret rooms like Feinstein’s don’t just panache, Kilgore never rushing as she flexibly toys book bands, they book theme acts or shows. So here we with the melody, Allen adding gruff heft with his sax - have the show singer Rebecca Kilgore and tenor his tone/approach is more late or Ben Webster saxophonist Harry Allen’s quartet presented in August than Prez these days. Allen and Kilgore interact 2010, the hook being the brief but resonant teaming, on becomingly as his obbligati shadow vocals, but it’s the (mostly) ‘30s records, between Billie “Lady Day” subtleties and nuances of their time and swing that Holiday and Lester “Prez” Young. But the repertoire make this CD so enjoyable. here isn’t limited to songs those two recorded together, just as the performances don’t mimic the music. For more information, visit arborsrecords.com. Allen is at Classic swing is an increasingly rare commodity Feinstein’s Jul. 11th, 92nd Street Y Jul. 21st and Jazz these days. Many younger neo-swing musicians and Standard Jul. 28th-31st with Freddy Cole. See Calendar. especially singers are content to skim the surface of swing feel, either rocking pendulum fashion on a two- beat rhythm or stomping down on a foursquare, four- beat rhythm. Both lack the nuance and lilt of vocal and small combo swing exemplified here by Allen’s band - Rossano Sportiello (piano), Joel Forbes (bass) and Chuck Riggs (drums) - and Kilgore. Those yearning for the bittersweet, rueful angst of later Holiday need not apply here, as heartbreak and pathos are not on the menu, nor are bathetic and self- flagellating songs (or interpretations). The touchstone Heart’s Reflections here is “Getting Some Fun Out of Life” and even “You Wadada Leo Smith’s Organic (Cuneiform) by Stuart Broomer In its latest expansive recording, trumpeter Wadada Leo Smith’s Organic is a 14-member band, an ensemble with four electric guitars, piano, violin, two saxophones, two laptops and two basses, all of it pressed forward by the truly magisterial drumming of Pheeroan akLaff. Clearly an outgrowth of Smith’s interest in -era Miles Davis fusion, Organic expands the concept to take in Smith’s interests in extended composition and contemporary electronics. The two-CD set has at its center the piece Heart’s Reflections: Splendors of Light and Purification, an 11-part suite, an hour in length, dedicated to the 13th century spiritual teacher Shaykh Abu al-Hasan al-Shadhili. Its themes are celebration and serenity, search and elegy and its often-modal anthems inspire some of Smith’s finest trumpet playing, whether it’s the beautiful and pensive Harmon-muted dirge of the opening “The Dhikr Of Radiant Hearts, Pt. I”, set against the spare drumming and cymbals of akLaff, or the wistful floating sound of “Spiritual Wayfarers”, accompanied by the bubbling electric piano of Angelica Sanchez. While Smith has tremendous orchestral resources available to him here, he uses them with rare discretion, keeping them in check to be unleashed for episodes like the dense funk-rhythms of the ebullient “Certainty”. In the final two-part “The Well”, Smith EVERY MONDAY NIGHT IN 2011 led by award-winning plays long stretches with just akLaff or the laptop vibist/composer Karl Berger in the tradition of the legendary players Mark Trayle and Charlie Burgin. The individual Creative Music Studio. Original compositions, themes by the likes of Don Cherry, Ornette Coleman, and world musical melodies will voices of the guitarists, most notably Michael Gregory be utilized for orchestral explorations and contrasting and Brandon Ross, are heard at greater length in the solo/duo/trio flights. This series supports the Creative Music Studio Archive Project. long suites that open and close the CDs - 20 minute Performers include: Art Bailey, Skye Steele, Frederika Krier, Sara homages to the late Don Cherry and Leroy Jenkins, Bernstein, Sylvain Leroux, Miguel Manna, Jorge Sylvester, David each of which moves through a kaleidoscope of shifting Schnug, Stephen Gauci, Catherine Sikora, Thomas Heberer, Herb Robertson, Brian Drye, Steve Swell, Bill Wright Dominic Lash, moods and are less introspective than the title suite. David Perrott, Adam Lane, Jeremy Carlstedt, David Miller, Harris From its rock elements to its abstract electronics, Eisenstadt, Philip Foster, Ingrid Sertso, Karl Berger. Organic successfully fuses diverse elements of Smith’s All are welcome to the 7:15 rehearsal and 9:00 performance for one fee of $20 ($10 for students, musicians and seniors) multi-faceted musical personality. The Stone is located at the corner of Ave C and E 2nd St, NYC www.creativemusicstudio.org For more information, visit cuneiformrecords.com. Smith is at The Stone Jul. 5th in duo with Angelica Sanchez. See Calendar.

THE NEW YORK CITY JAZZ RECORD | July 2011 27

“Violet” Formanek and Moritz enter a subdued early on by Tommy Flanagan, this disc bears the dialogue. The bassist’s thick lines begin “Royal”, unmistakable mark of that great piano master. On only before the horns patter against snapped strings and a her second trio outing Sung is joined by Flanagan’s last pizzicato viola duet develops, followed by a rapid rhythm team of bassist Peter Washington and drummer succession of staccato ‘bone and sax pops. Kuhl’s Lewis Nash and swings with remarkable maturity, rapping snare mirrors Goldberger’s delayed effect, demonstrating mastery of a classic idiom. cushioning Gerstein’s blowing and concise ending on The set begins with a reworking of George “Red”. Haunting guitar and subtle drum colors join for Shearing’s “Conception” [hence the (re) prefix], which the darkly cinematic “Black”, apt accompaniment for integrates Washington’s bass and Nash’s brushes into

Doomsayer the closing credits of an indie-drama and evocative of an organic group sound. Her arrangement of Frank Tim Kuhl (eleven2eleven) the album’s title. Loesser’s “I Believe In You”, utilizing a Sergio Mendes- by Sean Fitzell like vamp to open and close the piece, reinvigorates For more information, visit timkuhl.com. This group is at the popular melody. The leader’s classical background Drummer Tim Kuhl exemplifies the omnivorous Cornelia Street Café Jul. 14th. See Calendar. comes through in virtuosic performances of the flexibility of the emerging generation. He’s backed poignantly interpreted “Far From The Home I Love” straight-jazz veterans and mixed with free improvisers. (from Fiddler On The Roof) and the briskly waltzing After two releases featuring his compositions, he tacks original composition “Duplicity” (a feature for free on Doomsayer. The broad timbres and versatility of Washington’s lyrical bass). The trio’s informal romp on the group - bassist Michael Formanek, guitarist “C Jam Blues” is truly ducal in its elegance and pure Jonathan Goldberger, violist Frantz Loriot, trombonist New York in its vigor. Ben Gerstein and saxist Jonathan Moritz - ensure the Sung’s jaunty arrangement of Burt Bacharach’s creative unpredictability that Kuhl craves. ever-charming “Wives and Lovers” displays her Withholding bombast, the introductory “Gray” is unfailing lyricism, a quality shared by Washington in a patient drum solo with a spare, heavy bass drum both his accompaniment and solo. “Crazy He Calls groove that Kuhl extrapolates with flourishes around Me” is a stirring ballad performance, full of emotional (re)Conception the kit. “Gold”, a quarter-hour epic, snakes its way Helen Sung (SteepleChase) touches. The uptempo arrangement of Monk’s seldom- from amorphous probing to a long section set by by Russ Musto heard “Teo”, framed as a classically-tinged march, Goldberger’s pulsing. Kuhl’s emphatic snare bursts features the pianist burning things up, propelled by elicit excited retorts, until the piece gradually recedes. Little more than a decade and a half after her first fast walking bass and irrepressible drumming. The Most pieces illustrate a similarly investigatory introduction to jazz, Helen Sung has emerged as one of date’s concluding track, Sung’s arrangement of the approach; only the caustic “Pink” erupts with the full the music’s premier young pianists. Classical training Ellington rarity “Everything But You”, again recalls band’s cacophony of swirling notes and pounding is clearly evident in her impeccable technique and the graceful sophistication of the Flanagan trio to end a drums in a three-minute blast. touch, as well the intelligent construction of her recording truly timeless in its sound. Kuhl effectively highlights each musician with arrangements and improvisations, but the depth of her featured subsets. His minimal malleted drums become jazz devotion is unmistakably apparent in her highly For more information, visit steeplechase.dk. Sung is at tribal for Loriot’s sweeping runs on “Green” while on personalized phrasing and unswerving swing. Inspired Smalls Jul. 14th. See Calendar.

28 July 2011 | THE NEW YORK CITY JAZZ RECORD

Fernández has become the most celebrated pianist – if pieces expose more abrasive back-and-forth group not complete improviser – from his part of the world. improv, often at lightning-quick speeds. At points In many ways he’s the successor to pianist Tete Fernández’ choruses echo from the piano’s lower Montoliu (1933-97). But while Montoliu was a bopper, quadrant or he jabs at the keys while Guy bows. Fernández doesn’t limit himself to one style, as this More atonal is Kopros Lithos, whose experimental quartet of memorable discs makes evident. textures arrive courtesy of the pianist, American As founders of the Improvisadors de Barcelona trumpeter Peter Evans and the baritone saxophone and Orchestra, Fernández has often worked with live alto fluteophone of Swede Mats Gustafsson. There’s no electronics and sampler player Joan Saura. Vents is a percussion but that doesn’t stop it from being the most

Bridges rare duo session from the two. Created in studio over stentorian of the four sets. Between Evans’ flighty TIN/BAG (Mabnotes) an eight-month period, Vents’ tracks are so much a part squeals and wide-bore grace notes plus Gustafsson’s by Clifford Allen of the electro-acoustic world that it’s difficult to verbal shouts, tongue slaps and growls from his remember that Fernández is playing acoustic piano. baritone sax, there’s enough discordance to go around. It wouldn’t be wrong or unfair to call the music of Then again the keyboardist is a master of the timbres On a track such as “You displaced me by your singing”, TIN/BAG, the duo of LA trumpeter Kris Tiner and that can be bowed, plucked and strummed from Fernández adds to the general din by continuously Brooklyn guitarist Mike Baggetta, a post-rock pairing. internal strings, usually prepared with vibrating rubbing and plucking his piano strings as well as On Bridges, their third disc together, the mood of objects and his expressions mate perfectly with the clattering various objects placed upon them. At the melodic abstraction stretches further away from jazz austere flanges and oscillations shrilled, reverberated same time it’s his methodical key-stopping that guides and improvised composition, in the semi-traditional or crunched by Saura’s electric implements. the trumpeter’s flutter-tonguing and the saxophonist’s sense, into areas of atmosphere with a decidedly ‘pop’ Throughout the performances onomatopoeically metal-scrapping honks to a more melodic interface. sensibility. Tiner’s compositions make up six of the reflect both meanings of ‘vent’: an expression of pent- Perhaps those connective timbres from the keyboard nine tunes here, the title track and “The Truth” are up emotion and an opening for the escape of gas to also define the message behind another track title: “My Baggetta’s subtle contributions and the disc closes release pressure. Most of the tracks are remarkable in fingers were glue”. Certainly Fernández’ pressure with a cover of ’s “Just Like a Woman”. the way that Fernández’ tough keyboard pressure and firmly shapes the parallel improvising from the horns. Baggetta’s guitar work is often stripped-down popping internal strings add a needed humanity to Here Evans buzzes and whinnies as if a metal sheet is and ultra-muted, having a tendency to approach a Saura’s radiator-like hisses, motor-driven grinding pressed against his horn’s bell while Gustafsson kind of dusty, filmic minimalism, which presents an and crackling sound patches. contributes high-velocity snorts and brays. interesting contrast with the stately, poised cadenzas Ambrosia is not your parents’ guitar-piano duo. It Fernández’ pianistic control while improvising in of Tiner’s brass. The opening “Bobo” presents flurries put a post-modern cast on the proceedings as a non-conventional manner is a tribute to his skill. It’s at first, moving into plaintive footfalls as Baggetta Fernández matches wits with guitarist Joe Morris. The also another indication why any and all of these discs picks out a spacious, hushed rhythm that offers curious latter, who now often works as a bassist, at times are satisfying listens. support to the trumpeter’s direct, gauzily particulate manages to translate the low timbre of the four-string phrases. Occasionally, the guitar rhythms give rise to to his six-string. That means that echoes of For more information, visit emanemdisc.com/psi.html, spiky, air-clearing passages that augment Tiner’s accompaniment is present while the guitarist aumfidelity.com/riti.htm, mayarecordings.com and steeliness. The pair move through space with sound, showcases spiky, single-string action. On a tune such multikulti.com. Fernández is at The Stone Jul. 12th in duo taking time to ensure that notes and progressions are as “Ambrosia 1”, the two languidly complement one with Joe Morris. See Calendar. absolutely felt even if the music is equal parts pictorial another even while distending the theme. Morris’ frails (or imagist) in its reach. “Maslow” is slightly busier speed up to the point that they’re eventually bouncing with Tiner’s gulps, whines and flutters both soft and from strings below the bridge and on the neck while with a biting tone while Baggetta’s gentle reverb Fernández concentrates on swirling and contrasting “ ...a textbook example of how effectively a jazz vocalist caresses and frames the trumpeter’s agitation. dynamics à la Cecil Taylor. Even though legato can integrate elements of the inside and the outside . . . The title track begins with Baggetta solo, almost passages and harmonies are at a minimum, some of the consistently musical . . . consistently expressive, not to mention tenor guitar-like in tonal quality. Tiner, upon entering tracks on this magisterial six-part suite don’t turn individualistic . . . Katie sounds like Katie Bull.” —Alex Henderson, The New York City Jazz Record, June 2011 in muted wafts, channels Wadada Leo Smith with away from unintentional delicacy. However, if some incisive softness. “The Truth” reprises the opener’s tracks come across as a discordant aural version of folksy qualities, dewy strums floating almost loop-like greyhound racing, with Fernández chord-spraying as with trumpet approaching mildly harried intensity. quickly as Morris string snaps, the two are still able to It’s fitting that the pair close with Dylan, embracing a intermingle such tactics as soundboard echoes from homespun melodicism and wistful romance, but this the pianist and slurred fingering from the guitarist to cover is unnecessary by the same token - TIN/BAG do promote sophisticated parallel improvising. that quite well on their own. Morning Glory is wedded to acoustic expression. Recorded in Spain and New York, this two-CD set is a For more information, visit mikebaggetta.com. This group is spiky take on the trio with British bassist at Brooklyn Conservatory of Music Jul. 21st. See Calendar. and Spanish percussionist Ramón López. The album’s 19 tracks, especially those recorded live at Jazz Standard, could be an updating of Bill Evans’ celebrated Village Vanguard sets. With his perfectly formed notes, Fernández makes his composition “David M” a piano showcase with deep ruminations in the instrument’s middle register. A swinging, near lullaby, it’s also notable for Guy’s slippery modulations that are unabashedly tonic. Barely there, with understated bounces on this track, López further exhibits his sensitive touch throughout. He confirms it JULY 10: Nublu on a tune such as “Don Miquel”, where his nervy tom- AUGUST 25: University of the Streets tom pulse and cymbal scrapes unite with the pianist’s SEPTEMBER TBA: Brecht Forum methodical keyboard strumming to frame Guy’s solo OCTOBER TBA: Colony in Woodstock gorgeously. Almost so-called classical in execution, to www.katiebull.com for full schedule details bassist manages to create two different sounds with his Vents Agustí Fernandez/John Saura (psi) bow, before exciting with hand-pinched lines. There’s Katie Bull, vocals Ambrosia Joe Morris/Agustí Fernández (Riti) a faint to “Don Miquel”, carried over from Landon Knoblock, piano & electric piano Morning Glory (+ Live in New York) Fernández’ “Aurora” on the other disc. An Iberian take , bass • , drums Agustí Fernandez/Barry Guy/Ramón López (Maya) on Hispanic rhythms, the tremolo patterns reveal many Jeff Lederer, saxophones & other players from Kopros Lithos notes in rapid succession, yet the line stretches enough Peter Evans/Agusti Fernandez/Mats Gustafsson the Katie Bull Group Project pool TBA to keep the impressionistic theme chromatic. Guy’s (Multikulti Project) by Ken Waxman retort features scrapped and stropped strings while the percussion undertow is mostly rim shots and what Over the past 15 years Catalan pianist Agustí sounds like the hand-crushing of crisp paper. Other

THEKATIE NEW BULL YORKNYC Jazz ad.indd CITY 1 JAZZ RECORD | July 20116/21/11 29 6:03 AM

Allen’s new trio release, the dynamic tenor saxophonist swinging sax and pretty percussive floor to smooth out explains that he’s less interested in writing standalone ’s “Part Time Lover”. Somewhat songs than in creating sonata-like themes that play out paradoxically “Moontrane” is funked up by combining over the course of an album. It’s a formula he’s Marcus Strickland’s sax with Gerald Clayton’s followed with great success on his recent discs and he keyboards while a shout-out to soul’s godfather James returns to it with impressive results on Victory!. Brown, “Mr. Dynamite”, is reworked into fusion. A Detroit native with a brawny tenor sound, Allen Straighter tunes like the easy-flowing “Dawn of a served a lengthy and valuable apprenticeship with New Day”, funky opener “Home”, requisite Latin before making a name for himself in recent number “November” (with spot-on groove from

Don’t Follow The Crowd years both as a solo artist and as a key member of drummer Jamire Williams and percussionist Etienne Eric Alexander (HighNote) trumpeter Jeremy Pelt’s stellar quintet. On this trio Charles) and soulful “Things Don’t Exist”, featuring a by Alex Henderson outing - with the powerful rhythm section of bassist lovely throwback string arrangement, perfectly Gregg August and drummer Rudy Royston - Allen counterbalance the more personal numbers. Rounding Harold Mabern isn’t the only acoustic pianist who follows a less-is-more philosophy, shunning long, things out is ’s “Little Susie”, a Eric Alexander has featured on his albums, but it is rambling solos in favor of concise, well-articulated springboard for Williams to riff out an intro that safe to say that Mabern is at the top of his list. The big- statements built on infectious, accessible riffs. All his provides nutritious jam fodder for the rest of the band. toned tenor saxophonist has employed his former tunes have clear arcs and decisive endings. It’s a kind teacher on more than ten of his albums and the two of of progressive ‘jukebox jazz’, gritty, urban and soulful, For more information, visit concordmusicgroup.com. This them are reunited with excellent results on Don’t Follow that bears the influence, at various times, of modern group is at 92YTribeca Jul. 19th. See Calendar. The Crowd (which was produced by Don Sickler and masters like Coltrane, Rollins and Ornette, plus a engineered by the legendary Rudy Van Gelder). In fact, healthy dose of Motown soul. the cohesive quartet Alexander leads on this 2010 Standouts among the 12 interwoven tracks - none session is the same group he led on his 2009 recording longer than five minutes and some less than two - Revival of the Fittest, Alexander and Mabern joined by include the title tune, which is no fanfare, but rather a Nat Reeves on upright bass and Joe Farnsworth on dark, loping, gospel blues with Allen weaving gorgeous drums. But the fact that Alexander is working with the saxophone lines on top of an unrelenting beat. “Sura same musicians doesn’t mean that he plays it safe on Hinda” has a questing, late-Coltrane feel while “Motif” this CD. When it comes to choosing material, Alexander is an adventurous excursion showcasing Royston’s isn’t afraid to surprise us. muscular drum work. “Philippe Petit”, written for the

Alexander operates in the acoustic hardbop/ French tightrope artist, is a musical high-wire act Dave Digs Disney: Legacy Edition postbop realm, which is full of musicians who insist on featuring intricate bowed bass lines. The lone non- Dave Brubeck (Columbia-Legacy) confining themselves to the most overdone standards. original here - a romantic, breathy Ben Webster-esque by Ken Dryden Alexander, however, comes up with an interesting reading of the ballad “Stairway to the Stars” - is a variety of songs on this album, successfully putting his prime example of Allen’s taste and economy. Clocking Dave Digs Disney was a natural project for the Dave stamp on everything from Stanley Myers’ “Cavatina” in at a shade over two minutes, it’s just a couple of Brubeck Quartet, which had been playing songs from (from the 1978 film The Deer Hunter) and Henry choruses, bridge, one more chorus and out, but it various Disney movies on live dates. Brubeck has long Mancini’s “Charade” to bassist Bill Lee’s dusky includes a wealth of marvelous playing without an joked that he heard his kids’ Disney records so many balladic title track. The tenor man brings a Brazilian- extraneous note. times that he must have absorbed them, but in any flavored approach to Gordon Parks’ “Don’t The entire album is only about 35 minutes long, case, the songs all had strong, memorable melodies Misunderstand” (from the early ‘70s Blaxploitation but rather than sit through the extended, often bloated that provided a solid base for improvisation. One in film Shaft’s Big Score) and he has no problem turning soloing that provides filler on so many jazz albums, particular, “Someday My Prince Will Come”, remains a the Michael Jackson hit “She’s Out of My Life” into a just hit the repeat button and listen to JD Allen’s part of the pianist’s concert repertoire over five decades straightahead bop ballad. victorious venture twice. after he recorded it and has long become a favorite of “She’s Out of My Life” is the type of song that jazz musicians. many hardbop/postbop musicians typically ignore; For more information, visit sunnysiderecords.com. Allen is at For some unexplained reason, Columbia recorded they automatically assume that because it came out of Cornelia Street Café Jul. 1st with Michael Bates. See Calendar. the 1957 sessions in both stereo and mono, yet only R&B/pop, it wouldn’t be a good vehicle for jazz issued six mono tunes on the original LP, followed by a expression. And when ‘smooth jazz’ musicians perform 1994 CD reissue that added two previously unissued that type of song, it is usually a waste of time because songs (both mono takes). The Legacy edition includes they end up performing dull, lifeless note-for-note all eight of the previously issued mono tracks, plus covers and approach the tune as Muzak. But Alexander eight stereo interpretations of the same songs, along takes “She’s Out of My Life” seriously as a jazz vehicle, with alternate takes: four stereo and one mono. and his bop interpretation of the Jackson hit is every The group includes the pianist, alto saxophonist bit as compelling a ballad statement as his version of Paul Desmond, bassist Norman Bates and drummer the title track. Joe Morello. “Alice in Wonderland” has a hip loose True to form, Alexander enjoys a strong rapport flavor with Brubeck and Bates (followed by Desmond with Mabern. Between Alexander’s authoritative and Morello) trading fours. Brubeck’s boisterous jazz State of Art playing, chemistry with Mabern and intriguing choice waltz treatments of “Someday My Prince Will Come” Ben Williams (Concord) of songs, Don’t Follow The Crowd is yet another fine by Elliott Simon are full of magic, the pianist being in a playful mood as album from this expressive tenor saxophonist. he follows Desmond. State of Art has bassist Ben Williams displaying his The saxist supplies effortless variations in his For more information, visit jazzdepot.com. Alexander is at warm tone and slick style, qualities no doubt extended solos, particularly in the breezy settings of 92nd Street Y Jul. 26th. responsible for his 2009 Monk International Jazz “Heigh Ho (The Dwarf’s Marching Song)” (with Competition win and gigs with the likes of Wynton Brubeck adding a hilarious quote from Cole Porter’s

Marsalis and . This is Williams’ debut “Anything Goes” in one take) and the relatively as a leader and he has chosen to pay homage to obscure “One Song” (from Snow White and The Seven influences as varied as trumpeter Lee Morgan and pop Dwarfs). Desmond also shines in the several versions of stars Stevie Wonder and Michael Jackson. He the loping arrangement of “When You Wish Upon a accomplishes this not through rehashed arrangements Star”. but in the context of a contemporary session that mixes Throughout the sessions Bates and Morello (who jazz with funk, hiphop and R&B. sticks mainly to brushes) provide strong support while Williams’ band is a fleet, youthful and adaptable Brubeck and Desmond communicate via their unique bunch. They are as much at home bringing “Moonlight ESP to bring out the best in each other. One caveat: this

in Vermont” up to date with electric bass and an two-CD set is available only by download or as a CD-R Victory! JD Allen Trio (Sunnyside) ethereal guitar styling from Mathew Stevens as they set manufactured on demand. by Joel Roberts are paying tribute to hardbop trumpet, “The Lee Morgan Story”, by melding emcee John Robinson’s For more information, visit legacyrecordings.com. A In the short documentary film that accompanies JD raps with Christian Scott’s sizzling trumpet or using a Brubeck tribute is at 92nd Street Y Jul. 27th. See Calendar.

30 July 2011 | THE NEW YORK CITY JAZZ RECORD

brushes to produce a mosaic of sounds. He used a small bow to ‘play’ the edges of his drum kit and caressed his snare and cymbals with a string of beads, doing so with the solemnity and care of a shaman summoning a spirit. He could also go from percussive to concussive by whipping off thunderous volleys that would have aroused pride and envy in Brian Blade. But the ultimate kudos must go to Vallon, a truly gifted pianist who plays and leads with strength,

Rruga spontaneity, introspection and a melodic sophistication Colin Vallon (ECM) that results in a balanced and unique sound. by Terrell Holmes For more information, visit ecmrecords.com Each song on Rruga, the wonderful ECM debut by

Swiss pianist Colin Vallon’s trio (after a pair of albums earlier this decade on local imprints hatHUT and Unit), unfolds like an intricate mystery waiting to be solved. Vallon, bassist Patrice Moret and drummer Samuel Rohrer play the original compositions with a poetic tenderness and telepathic interplay. And the adventure lies not in solving the puzzles but in the journey toward their resolutions. “Telepathy”, “Home” and the title cut are songs that flow within spare, eloquent melodies that give Goodbye New York, Hello World them the intimacy of solemn conversations among (Music Now!) close friends. There are also stand-you-up-straight by John Sharpe moments of invention. Vallon strumming and bowing the piano strings on “Polygonia” builds a challenging Matt Lavelle stakes his claim as an up-and-coming foundation for Moret’s bold face pizzicato and Rohrer’s member of that select band of multi-instrumentalists intense drumming. Listeners and travellers will cringe who doubles on brass and reeds. With Goodbye New at the title “Eyjafjallajökull” (2010’s erupting Icelandic York, Hello World the Downtown fixture issues a volcano pronounced EH-ya-fiat-la-YO-kut) and that bulletin from the frontline together with a memorable chaos brews in its musical rendering, with cadre of familiar collaborators. Drawn from two live Vallon’s ominous undercurrents, Rohrer’s percussion sessions at The Kitchen in New York City, the 66-minute with beads and Moret’s measured plucking. Their program chronicles a mix of duet and quartet voices also blend perfectly on “Noreia” and “Meral”, performances, featuring strong soloing on where Vallon creates an echo effect toward the end of uncomplicated blowing vehicles that largely avoid the song reminiscent of church bells pealing in the invoking the fire music defaults. distance. On “Iskar” (and on “Rruga, var.” to a lesser Breathily fluent on cornet, but more impassioned degree) the trio plays like two trios, where the former and vocalized on bass clarinet, Lavelle has something plays the instruments more conventionally and the to say on all his axes, leavening insistent repetition doppelganger produces an aural bouquet where the with vaulting unpredictability. Francois Grillot’s bass instruments are practically interchangeable. (recorded slightly hot) keeps the leader good company When the Colin Vallon Trio made its New York throughout. In three duets he advances flexible debut last month at the Rubin Museum of Ar as part of propulsion, cycling through a selection of riffs while its first US tour, the show underscored the exceptional simultaneously adding adroit counterpoint. On the nature of this dynamic and multi-dimensional group. three quartet tracks the pair is joined by Ras Moshe on Each man manipulated his instrument to assume the tenor saxophone, proving particularly accomplished in character and aspect of one of the others. overblown falsetto excitement, and drummer Bob They opened the set with the the album’s title cut Hubbard, who maintains momentum with a constant and followed that with “Polygonia”. Vallon bowed the cymbal pulse embroidered by a clattering rat-a-tat. piano strings and strummed them; he also plucked the Lavelle takes a lengthy bass clarinet solo on the strings to produce kalimba-like sounds. All of these sprightly freebop of “Your the Tonic”, which also gave the music an added dimension and texture. Moret features winning interaction with Grillot. Here and at one point hand-drummed on the outside of his bass. elsewhere on the group cuts some of the transitions Rohrer moved skillfully among sticks, mallets and back to the heads are somewhat tentative suggesting a work in progress. But their chemistry is palpable and also in evidence on “Choices”, a brooding dirge notable for fine interplay between the bassist’s bow work and the leader’s weighty low-pitched reed. “Rose”, the fleet-fingered opening cut, sounds like an extemporization for pinched cornet and fast walking bass, before closing with a feature for Grillot alone, where the Frenchman is able to meld melody with meter to good effect. On “Endings and Beginnings” the twosome is cool and airy, only becoming more purposeful when Lavelle switches to his mellifluous alto clarinet. The simple theme of “WAYNE” provides a launching pad for another slab of wiry freebop, with Lavelle’s agile work presaging Moshe’s calming mid-register tenor cascades, but the concluding title track, where Hubbard’s resonant gongs impart a ritual feel nicely setting off Lavelle’s meditative alto clarinet, suggests possibilities for future exploration.

For more information, visit mattlavelle.org. Lavelle is at University of the Streets Jul. 2nd as a leader and 27th with Chris Forbes and Brecht Forum Jul. 17th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | July 2011 31

On top of Sirone’s flamenco guitar-like facility The final three tracks come from a self-produced and the drummer’s sympathetic understatements, 2007 session. Peplowski’s robust tenor is paired with which on a piece like “Silence On The Move” zip from bassist Greg Cohen in a breezy setting of “No Regrets”. martial pacing to stick friction without losing the beat, ’s “With You and Without You” is Thomas extemporizes equally on all his horns. He transformed into an exotic Far Eastern setting, with barks and vibrates on soprano saxophone; speeds his Peplowski as the only soloist, his trance-like clarinet bass clarinet tones from guttural tremolo to stuttering beautifully backed by Cohen, vibraphonist Chuck altissimo and overcomes the musette’s nasal properties Redd and percussionist Joe Ascione. The finale is a hip while chromatically blending it at different times with New Orleans-flavored duet of “Rum and Coca-Cola”

Beneath Tones Floor grounded timbres from one or the other rhythm (honoring Professor Longhair) featuring the clarinetist Oluyemi Thomas/Sirone/Michael Wimberly players. with Ascione. (NoBusiness) Beginning acappella, “Heavenly Wisdom” by Ken Waxman showcases guttural bass clarinet smears mixed with For more information, visit caprirecords.com. Peplowski is vocalized hums that evolve when the bassist adds a at 92nd Street Y Jul. 19th. See Calendar. Best-known as the anchor of the Revolutionary moderato bowed line. Thomas’ soprano saxophone Ensemble in the ‘70s (and ‘00s revival), bassist Sirone proffers a solid demonstration of flutter-tonguing on (born Norris Jones) adds his rhythmic power and the title track and elsewhere displays the reedist’s IN PRINT invention to this exemplary trio set recorded at the capacity for disjointed, yet emotional multiphonics. Brecht Forum in 2008, likely his final American Most notable of the improvisations is the classic duo recording. But there’s no feeling that the bassist, who contrast that arises on “Reflections of Silence, Painting recorded very infrequently as a leader and before his Silence, Images Of Silence”, which match the bassist’s death at 69 in 2009 lived in Berlin, is anything but an wood-vibrating licks with either Thomas’ Pied Piper- equal partner here. Other bandmembers are multi- like flute peeps or pinched musette shrills. reedist Oluyemi Thomas, an occasional New York Beneath Tones Floor is a rare example of in-the- visitor from Oakland, California who has, in his small moment cohesive improvising that, due to Sirone’s discography, worked with bassist , drummer death (plus the inherent nature of this kind of music), Sunny Murray and guitarist , and local can never be repeated. Luckily someone had the percussionist Michael Wimberly. foresight to record this program for those not there to Sirone’s tough strumming and col legno patterning witness it. : A Guide for Identifying Original Pressings add the appropriate connecting thread to the 10 tracks, Frederick Cohen (Jazz Record Center) which flow seamlessly into one another. Wimberly, For more information, visit nobusinessrecords.com. Thomas by Clifford Allen whose bass and saxophone associates have included and Wimberly are at Clemente Soto Velez Jul. 18th. See such distinctive improvisers as Charles Gayle and Calendar. No jazz record label is more revered than Blue , knows exactly how to color the Note, as to which the label biographies, near- proceedings: cross-sticking, focused rim-shots and constant reissue programs (on both CD and LP), clattering paradiddles. books of album cover art and frequently high prices of original vinyl can attest. Jazz Record Center shop head honcho Fred Cohen has assembled a fascinating USED field guide to identifying original pressings of Blue Note titles from its first modern jazz singles and ten- NEW inches until the full changeover to Liberty Records labels around 1967. With all of the “original” pressing Blue Notes being touted - and supposedly faithful reproductions – it’s important for collectors In Search Of… to have something that will ideally stave one off Ken Peplowski (Capri) by Ken Dryden from paying too much money. The guide painstakingly explores such things Multi-reedist Ken Peplowski has made his mark since as the deep groove (created by the center clamp for 236 West 26 Street, Room 804 arriving in New York City in the mid ‘80s. He studied metal stampers in the record manufacturing New York, NY 10001 with Sonny Stitt and toured with Benny Goodman’s process), raised or flat rims, the presence of the final orchestra while also recording extensively, Plastylite “P” (erroneously referred to as the “ear” Monday-Saturday, 10:00-6:00 making over 30 CDs as a leader since 1987 and working by some) and Rudy Van Gelder’s name or initials in with similarly-minded players like Loren Schoenberg, the run-off grooves and last but not least the various Tel: 212-675-4480 Charlie Byrd, Randy Sandke and John Pizzarelli. Blue Note office addresses. All of this information is The bulk of this aptly-titled release showcases handy – one can find Blue Note records pressed well Fax: 212-675-4504 Peplowski with pianist Shelly Berg, bassist Tom into the ‘60s with label addresses from a decade Kennedy and drummer . Rather than earlier, but missing a deep groove or flat edge. Email: [email protected] choose the typical mix of standards and familiar jazz Sometimes such records are incorrectly referred to Web: jazzrecordcenter.com works, Peplowski, who listens to a wide range of as originals – with this guide in hand, one can music, mostly opted for neglected gems and new perhaps avoid the mistake of overpaying. LP’s, CD, Videos (DVD/VHS), material. Some of the facts are downright maddeningly Books, Magazines, Posters, ’s “The Thespian” is from the arcane – a slight grey tint to a copy of Blue Train is Postcards, T-shirts, pianist’s Shades of Redd; Peplowski displays both his supposedly indicative of a first-run jacket. Even Calendars, Ephemera lyrical chops and fluid hardbop licks on tenor sax. No those collectors and fans who are a bit closer to vocalist is needed for Peplowski’s majestic setting of diehard or obsessive can find new information in Buy, Sell, Trade the ballad “When Joanna Loved Me”, with a magical this book – such as the rare blank-back single sleeves vibrato in the style of Ben Webster. from the ‘50s or the variability among laminated/ Collections bought Switching to clarinet, Peplowski’s whispering non-laminated sleeves being tied to jacket suppliers. take of Rodgers-Hart’s “A Ship Without a Sail” (from These details are reminiscent of a train-spotter and/or appraised the 1929 musical Heads Up!) and his longing, emotional pointing out curiously mismatched parts on a diesel setting of Cy Coleman’s “With Every Breath I Take” locomotive. It’s a fascinating and frequently head- Also carrying specialist labels demonstrate his mastery of interpreting ballads. Berg scratching book of facts about records as objects/ e.g. Fresh Sound, Criss Cross, penned “Peps” in honor of the leader, a cooking bop artifacts and definitely invaluable to boot. Ayler, Silkheart, AUM Fidelity, vehicle that stimulates the quartet, along with the Nagel Heyer, Eremite, Venus, gorgeous ballad salute to “In Flower” For more information, visit jazzrecordcenter.com. A Clean Feed, Enja and many more (recorded previously by Berg on Lorraine Feather’s celebration of Blue Note Records is at 92nd Street Y Jul. Language with her lyric), both featuring the leader on 26th. See Calendar. clarinet.

32 July 2011 | THE NEW YORK CITY JAZZ RECORD

Flemish variant of free jazz since before his participation wonder why it was neglected. Of course, Woods and in 1968’s Machine Gun. And Belgium-based, English- Mays can find something fresh within the most born drummer Paul Lytton is equally adaptable, frequently played standards. The pianist opens George having spent four decades collaborating with stylists Gershwin’s “How Long Has This Been Going On?” by ranging from British saxophonist Evan Parker to playing the often-omitted verse as a moving piano American trumpeter Nate Wooley. solo, with Woods then adding his piercing, spacious Proof of this cooperation is dazzlingly apparent alto in a deliberate arrangement. The duo plays their during the CD’s almost 47-minute title track. Dunmall buoyant interpretation of Irving Berlin’s “The Best spits out pressurized vibrato and split tones with his Thing For You Would Be Me” at a brisk tempo as the

Hi-Fly considerable body weight behind them while Van two men engage in a lively musical conversation. Sachal Vasandani (Mack Avenue) Hove counters with churning chords and equally by Joel Roberts kinetic runs. As the saxman’s glissandi become For more information, visit palmetto-records.com. Woods is progressively glottal and atonal, the pianist reaches at 92nd Street Y Jul. 21st. Mays is there Jul. 20th. See Sachal Vasandani is a young singer inside his instrument to animate the tightly wound Calendar. with plenty of promise, as evidenced by this new strings with stops, strums and pops. release (his third for the Mack Avenue label since his Rogers’ thick pressure on the bass’ multiple strings 2007 debut Eyes Wide Open). With his classic crooner’s plus Lytton’s skittering drags and rebounds hold the ON DVD approach, impressive vocal technique, charisma and rhythm, no matter how often the saxophonist’s timbres good looks, he’s well-positioned to reach the crossover move from nephritic to altissimo. With the only audiences that gravitate to the likes of Harry Connick momentary release from the staccato, cascading sound Jr. and Jamie Cullum. But he also has strong textures those few instances when Lytton strikes a straightahead jazz chops and a sensibility that imbues small bell with a wire brush, the fortissimo and everything he sings with a jazz spirit, whether it’s polyphonic performance ends as intensely as it began. standards, original compositions, or surprising Van Hove continues outputting pile-driver chords; contemporary choices, like ’s “Love is Lytton ruffs and rolls; Rogers’ sul tasto slides and, a Losing Game”, delivered here as a melancholy, late- nearly engulfing the other tones, Dunmall boosts his night torch song. staccato tongue slaps and multiphonic intensity. The new album features appealing, if somewhat Overall, the skills displayed are such that four- conventional readings of familiar fare like “The Very part connectivity is never lost, making the date a Jon & Jimmy: Dreams, Drugs and Django (Euforia) Thought of You” and “All the Way”. More engaging tribute to both individual talent and group interaction. by Terrell Holmes are two tracks that pit Vasandani with vocalese master , still a force to be reckoned with at age For more information, visit slamproductions.net Jazz history is littered with instances of musicians 89. Hendricks pushes the younger singer, nearly 70 whose personal demons overshadowed their talents years his junior, to break out of his comfort zone on a and ultimately destroyed them. The documentary joyful, rollicking take on “One Mint Julep” and returns Jon & Jimmy: Dreams, Drugs & Django shows how for the -composed title track, for which addiction and codependence affected the lives of Hendricks penned the lyrics. Vasandani more than two gifted guitarists. holds his own with Hendricks and clearly has a blast Jimmy Rosenberg grew up in a caravan in trading jabs with the jazz legend. Holland and attracted attention as a guitarist before Vasandani contributes several original tunes as he turned ten. Bold in his approach to improvisation, well, notably “Flood”, the album’s emotional his speed and technique were unparalleled. Jon centerpiece, which was inspired by recent devastating Larsen is a respected musician and producer 20 natural disasters around the world. Vasandani and his years Jimmy’s senior. Their link is their love for Woods & Mays fine trio (pianist Jeb Patton, bassist David Wong and Phil Woods/Bill Mays (Palmetto) guitar legend Django Reinhardt, who is at the core drummer Kendrick Scott), along with guest soloists by Ken Dryden of this film. Jimmy, like Django, is a gypsy of Sinti Ambrose Akinmusire on trumpet and John Ellis on heritage. They met at a Django festival in France. tenor sax, get their best chance to stretch out on the Now in his sixth decade as professional, Phil Woods Jimmy became Jon’s friend and musical partner; Jon singer’s “Babe’s Blues”. A solid outing by an up-and- has built an impressive, extensive discography as a loves Jimmy like a brother, saying that playing with coming vocalist with a bright future. leader while also serving as a sideman on many him is like “capturing the moment and being alive.” memorable recordings, having played with Thelonious As Jimmy approached the cusp of superstardom, For more information, visit mackavenue.com. Vasandani is Monk, Dizzy Gillespie and Quincy Jones, to name just he was allegedly offered cocaine at a party during at 92nd Street Y Jul. 28th. See Calendar. a few. The Springfield, Massachusetts native was an American tour and the downward spiral began. honored as an NEA Jazz Master in 2007, one of He eventually wound up living on the streets for

numerous awards he has received in his illustrious three years with no guitar. In the grand tradition of career. Bill Mays, who joined Woods’ quintet several self-delusion, Jimmy sees his addiction as a years ago, has a distinguished resumé as a leader, conspiracy hatched against him and not of his own composer and sideman, like many of his predecessors doing. in the band. Mays’ vast knowledge of tunes and Jimmy and Jon reconnected in 2004 and after improvising skill make him the perfect match for the recording and touring briefly Jon booked three peerless alto saxophonist, almost two generations his months’ worth of gigs and recording dates. But senior. Jimmy’s behavior was erratic, including violent Woods has a gift for writing memorable songs and episodes with promoters and the police. Jimmy even he debuts two new compositions here. “Blues For threatened to kill Jon and his family. After a failed Asynchronous Lopes” honors the late Joe Lopes, a fellow Springfield attempt at reconciliation, things ended between Jon Van Hove/Dunmall/Rogers/Lytton (SLAM) by Ken Waxman native and close friend who played with and and Jimmy inversely to the way they began. Jon helped prepare Woods for Juilliard. The saxophonist’s arranges to perform Django’s music with a Featuring an enviable instance of a so-called hip tribute is a playful affair, with he and Mays symphony orchestra but decides against Jimmy as a supergroup of improvisers clicking in a festival setting engaging in an amusing trading of fours. “” guest soloist, using Jimmy’s brother Stokolo instead. (the 2008 Europa Jazz Festival in Le Mans, France), honors the late fellow NEA Jazz Master, a lush lyrical While watching this relationship unfold is tortuous, Asynchronous demonstrates what can be done in the affair representative of the effortless elegance with the true shame of Jon & Jimmy is that the music familiar saxophone and rhythm section milieu. It helps which Jones played a ballad. The late saxophonist Al becomes marginalized because one man didn’t take that each participant is a veteran, comfortable in many Cohn was another close friend and a prolific composer; enough responsibility for his own life and another improv situations even if this is a one-time-only Woods’ emotional setting of Cohn’s “Danielle” conveys man took too much responsibility for it. meeting. Paul Dunmall, who plays tenor saxophone the sense of longing without the need of a vocalist. and border pipes here, and seven-string bassist Paul Woods has long had a gift for uncovering forgotten For more information, visit djangomovies.com. A Django Rogers are one-half of the cooperative British quartet songs, such as Richard Rodgers’ “Do I Love You?”, tribute is at Birdland Jul. 1st-3rd, featuring Young Lions Mujician, as well as leading their own bands. Antwerp- which was written for the 1957 Cinderella television of . See Calendar. based pianist Fred Van Hove has been defining a special. The duo’s exuberant treatment makes one

THE NEW YORK CITY JAZZ RECORD | July 2011 33 1 mm 2 mm 3 mm 4 mm 5 mm 6 mm 7 mm 8 mm 9 mm 10 mm

Riley had a productive relationship with several of this magnitude: 79 pieces at close to five-and-a- BOXED SET British imprints in the late ‘90s to mid ‘00s: FMR half hours in total duration. (most notably a duo with Tippett); SLAM (solos to But that accessibility is a relative term; this is duos to quartets) and Emanem (an amazing trio of not solo piano à la where the floridness 9 dots pianos with Tippett and John Tilbury the highpoint). can be easily ignored or Cecil Taylor, whose density But suddenly he appeared with a solo piano is much of the point. Riley’s pieces are discrete performance from 2009 in Vilnius, Lithuania, miniatures yet do not come off as insubstantial. released by that country’s relatively new avant garde There are moments recalling his earlier angularity label NoBusiness. Much like saxist Mats Gustafsson’s followed immediately by bluesy musings, two albums for the label, this live date was somewhat subconscious paeans to omnivorous players like of a departure from NoBusiness’ catalogue of mostly Byard. That those two worked together may be the American and Eastern European artists. So The best means to describe Howard Riley. At this point in The Complete Short Stories 1998-2010 Complete Short Stories 1998-2010 is a remarkable his career, to which this boxed set attests, he can, Howard Riley (NoBusiness) commitment to an artist who deserves a greater does, will and want to play everything. He may be by Andrey Henkin reputation than he has thus far garnered. the closest thing England has to Thelonious Monk, There are six discs in this boxed set. The first another individualist. Riley may not have Monk’s Though he was a contemporary of all the avant two reissue the very obscure (so much so it doesn’t subversive humor but he does have his sculptor’s 16 dots British stars of the ‘60s - giving Barry Guy his first even figure into several online discographies) Short touch, forming pieces that work in three dimensions. major exposure and later participating in the bassist’s Stories (ESProductions, 1998-99). The second pair Except for the last disc’s five pieces, the longest monumental Ode; working with Tony Oxley, Paul revives the second volume in that series, recorded in tune here is seven minutes but most average about Rutherford, and others - pianist 2004 and 2006 and originally issued by SLAM. The three-and-a-half minutes. This allows Riley to invest Howard Riley never became the international last two discs are new material, recorded in London a great deal of himself in a short space of time sensation the others did. A possible reason for his (as was most of the music) in 2008 and 2010. without getting overly attached to what he is playing. anonymity is that he has almost exclusively worked Riley’s music since the beginning of his career There is another tune, another dozen tunes just with fellow Brits, the major exception a duo disc has been highly iconoclastic. He is not a free-pounder around the corner. As a listener, it can still be with a somewhat equally obscure American, Jaki nor an ivory-stroker or an inside-the-case wanderer. overwhelming as there is little respite throughout Byard. He has had a steady profile, working early on His first album from 1967 was very much in the vein the set, even for those already acquainted with in trio formats, then moving to solo work, followed of period Paul Bley. Later with Guy and either Oxley Riley’s approach(es). Though fame may be nice, by numerous duos and then varied appearances with or Alan Jackson he moved into abstraction worthy of Riley’s isolation has given him a style and nuance he 25 dots groups like Guy’s London Jazz Composers Orchestra an Andrew Hill, an aesthetic that would figure into might not have gotten if he had to adapt to dozens of and partnerships with the late Elton Dean. He may his early solo work. But by the start of this decade- musical environments or pledge allegiance to a not be as lauded as countrymen pianists like Keith plus worth of music, when he was 55, Riley had particular school of playing. The title of the set is apt: Tippett or John Taylor but can be argued to be mellowed somewhat. The tunes became shorter and he is a writer, crafting literary bursts alone. Britain’s original avant garde one, never straying far more melodic and on the whole he added accessibility from the cerebral promise of his first crop of discs. to his repertoire, crucial when trying to digest a set For more information, visit nobusinessrecords.com

Lou Caputo “Not So Big Band” New CD. Featuring the “Not So Big Band” With some of New York’s Finest: , Geoffrey 1 mm 2 mm 3 mm 4 mm 5 mm 6 mm 7 mm 8 mm 9 mm 10 mm Burke, , Leopoldo Fleming, Billy Hart, Jason Ingram, Howard Johnson, , Rudy Petschasuer, Dave Smith, Don Stein, Chris live jazz nightly White, Joel Perry plus vocalist Jann Parker. A dynamic Cd from a small band with a big sound, featuring an eclectic repertoire with plenty of room for blowing and arrangements by some of New JULY 13 JULY 1924 York’s finest talents. KENNY GARRETT TIERNEY SUTTON BAND QUARTET with Christian Jacob, Kevin Axt with Benito Gonzalez, Nat Reeves & Ralph Humphrey & Ronald Bruner After Hours: Robert Rodriguez Trio After Hours: Sharel Cassity Quintet JULY 25 JULY 411 CLOSED FOR SEXTET MAINTENANCE with Dan Kaufman, Yasushi Nakamura, Guilherme Monteiro, Keita Ogawa, Lawrence Leathers & Special Guest JULY 1217 Jonathan Batiste MARCUS ROBERTS TRIO 0.2 mm 0.4 mm 0.6 mm 0.8 mm 1 mm 1.2 mm 1.4 mm 1.6 mm with Rodney Jordan & Jason Marsalis JULY 2631 After Hours: Kimberly Thompson Trio CLAUDIA ACUÑA QUINTET JULY 18 with Marc Cary, Mark Kelley, TAMMY MCCANN Juancho Herrera & Yayo Serka QUINTET After Hours: John Benitez Group

Check out the Band live at our home base The Garage 7th Ave South NYC July 19th, August 16th, September 20th, November 15th 13 stripes Lou can also be heard with his Quartet at The Garage Sunday Brunch Noon-4pm jalc.org/dccc July 10th, August 14th, September 11th

RESERVATIONS ARTIST SE T S AFTER HOURS 212-258-9595 / 9795 7:30 / 9:30 , Fri–Sat 11:30 Tues–Sat after last artist set

Photo courtesy of The Frank Driggs Collection CD available at CDbaby, Amazon And Itunes

34 July 2011 | THE NEW YORK CITY JAZZ RECORD

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TNYCJR: Your brother Nat [King Cole] was enormously FURT, the electronic duo of Richard Barrett and Paul famous. It required real grit for you to follow your own Obermayer, who have recorded extensively for psi. path and keep going. Barrett remarks, “I’d prefer not to see that association in terms of a disembodied entity like a CD label, but FC: Yeah, it does and it continues to be. ...Fortunately I rather as one among many aspects of my association have learned to let that lie. ...I wrote that song “I’m Not with Evan and his work. It means a great deal to me My Brother, I Am Me”. So the main thing I worry about that what I’m doing, with FURT and in other areas, is is [when someone says] “Oh, you sound just like your being supported and encouraged by someone with brother.” Oh, thank you very much. Did it sound Evan’s depth of involvement with creative music.” GOOD? (Chuckle) ...You know, the club owner is Guitarist John Russell, another long-time associate paying me to sound good and put some people in recently joined the Electro-Acoustic Ensemble, seats. Fortunately over the years I have been able to recounts the making of Hyste, his outstanding solo CD: build my following. These are my people coming to “I went down to Whitstable [on the English North Sea hear what I do. And it’s a good feeling. I get great coast] to spend a couple of days recording in St. Peter’s audiences in Brazil. I can play tiddly winks there I Church with Evan and John Edwards. Evan said I guess and get over, they like it so well. should record some solo improvisations for a CD on psi while the opportunity was there with the excellent TNYCJR: You have a very strong feeling for Adam Skeaping engineering. The result was Hyste and representing jazz. Evan was involved through the whole process. We discussed ideas about the cover, sleeve notes and titles. FC: It’s like that old expression, just trying to keep the “I was completely free to choose musical content bebop alive. In my estimation jazz doesn’t get the and Evan and Adam dealt with the final mix. I think respect that it should. ...So I just try to be a first-class one of the things about psi is Evan’s attention to the person and carry myself in a respectful manner. I’m detail involved in each release and his collaboration happy to bring this music forward. with and understanding of the needs of the musicians he works with. Having something of my more recent TNYCJR: Your feeling is so deep for these songs. That’s solo playing on CD and released with such care and so obvious when a singer has that quality. attention makes for a very good feeling and on the whole I’ve had some good feedback from people who FC: They lose their soul to the music. You lose your have heard it. I’m very happy with the whole thing!” soul in the music. You get inside the music. A lot of Trumpeter Peter Evans, another recent addition to people say to me you sing like you were there. And I the Electro-Acoustic Ensemble, has two solo discs on say I WAS there. One of the tunes I just recorded, I’m psi, More Is More and Nature/Culture. He recalls meeting sure you know it, “M’amselle”. In the studio they said, Parker around 2004, “…I approached Evan after the set you really put yourself in Paris in this song. And I said and he invited me to the place he was staying the next I sure did. (Chuckling) “It was midnight, it was Paris day. I brought some (not very good) solo music, which and hey, once again it’s spring.” Just put yourself right he actually listened to all of, right there with me in the in there. That’s the great part about being a musician room, gave some comments, asked me some questions... and an entertainer. v the whole thing was pretty funny looking back on it. We stayed in touch and when I recorded my first solo For more information, visit freddycole.com. Cole is at Jazz disc, I sent him a copy, simply because I thought he Standard Jul. 28th-31st. See Calendar. would enjoy it. I couldn’t find anyone to put it out and told him and he said that he could release it. And ever Recommended Listening: since we have developed what Evan jokingly likes to • Freddy Cole - Waiter, Ask The Man To Play the Blues call an ‘avuncular’ relationship.” (Dot-Verve, 1964) Asked what he most enjoys about having his own • Freddy Cole - The Cole Nobody Knows label, Parker answers in a word: “control”. It’s evident (Audiophile, 1977) in the attention to layout and artwork, often with • Freddy Cole - I’m Not My Brother, I’m Me luminous portrait photography by Caroline Forbes. (Sunnyside-HighNote, 1990) With so much new music on psi, a listener might • Freddy Cole - To The Ends of the Earth (Fantasy, 1997) overlook Parker’s ongoing interest in more traditional • Freddy Cole - This Love of Mine (HighNote, 2005) forms. One psi jewel is German saxophonist Gerd • Freddy Cole - The Dreamer in Me (Live at Dizzy’s Dudek’s ’Smatter. Dudek has been Parker’s section- Club) (HighNote, 2008) mate in Globe Unity Orchestra for decades, but his own work is little documented. Parker united Dudek with a first-rate English rhythm section and created one of the most beautiful mainstream dates of the past decade, Dudek’s gorgeous tone embellishing “Body and Soul” and “The Peacocks” with a grace comparable to Stan Getz. Another recent CD of mainstream interest is pianist Hans Koller’s Cry, Want, by a tentet with Bill Frisell (and liner notes by crime novelist John Harvey). An orchestration of Jimmy Giuffre’s title tune features Frisell and Parker with brilliant results. Parker’s plans for the future include putting Dudek and Koller together in a quartet and “the duo with Misha [Mengelberg] is coming soon and I hope some sub-groups from the Electro-Acoustic Ensemble’s tour last year. And a list as long as your arm.” v

For more information visit emanemdisc.com/psi.html. Artists performing this month include Agustí Fernández at The Stone Jul. 12th in duo with Joe Morris and Nate Wooley at The Stone Jul. 12th and 15th with Adam Lane and as a leader, Clemente Soto Velez Jul. 18th and I-Beam Jul. 29th and Café Orwell Jul. 30th, both with James Falzone. See Calendar.

THE NEW YORK CITY JAZZ RECORD | July 2011 35 CALENDAR

Friday, July 1 êDjango in June: Young Lions of Gypsy Jazz with Samson Schmitt, Ludovic Beier, • Brent Canter Trio with Adam Klipple, Greg Ritchie Doudou Cuillerier, Pierre Blanchard, Andreas Oberg, Brian Torff and guest Bar Next Door 8:30, 10:30 pm $12 • Ron Carter’s Golden Striker Trio with Mulgrew Miller, Russell Malone Birdland 8:30, 11 pm $30 • Emilio Teubal Quartet with Sam Sadigursky, Moto Fukushima, John Hadfield; Smoke 8, 10 pm $35 • Antonio Ciacca The Bar on Fifth 8 pm Parias Ensemble: Daniel Reyes, Luis Lanes • Kenny Garrett Quartet with Benito Gonzalez, Nat Reeves, Ronald Bruner • Ben Stapp solo; Erika Dagnino, Sarah Bernstein, Jean Carla Rodea Douglass Street Music Collective 9 pm $10 Dizzy’s Club 7:30, 9:30 pm $35 Downtown Music Gallery 6, 7 pm • Melvin Van Peebles with Laxative Zebulon 9, 10:30 pm • Sharel Cassity Quintet Dizzy’s Club 11:30 pm $15 • Chris Dingman/Jared Schonig Quartet • Maral Yakshieva solo University of the Streets 8 pm • The Latin Side of John Coltrane: Conrad Herwig All-Stars with guest Randy Brecker Saint Peter’s 5 pm • Tal Ronen Quartet; Saul Rubin Fat Cat 7, 10 pm Blue Note 8, 10:30 pm $35 • Malika Zarra Blue Note 12:30, 2:30 pm $24.50 • Abraham Ovadia Trio with Michael Feinberg, Noel Brennan êChes Smith, Zeena Parkins, Drew Gress • Klezmer Brunch: Michael Winograd, Peter Sokolow, Lauren Brody, David Licht Tutuma Social Club 7 pm Blue Note 12:30 am $10 City Winery 11 am $12 • Yvonnick Prenne Organ Quartet Café Orwell 8 pm êGerald Clayton Trio with Joe Sanders, Justin Brown • Elli Fordyce and Trio; David Coss and Trio; Nueva Encarnacion • Aline Almeida; Ayumi Ishito Quintet Miles’ Café 7, 8:30 pm $19.99 Jazz Standard 7:30, 9:30, 11:30 pm $30 The Garage 11:30 am 7, 11:30 pm • Jo-Yu Chen Trio Tomi Jazz 9 pm $10 • Renee Rosnes Quartet with Rich Perry, Peter Washington, Lewis Nash • Michika Fukumori Trio Cleopatra’s Needle 7 pm Village Vanguard 9, 11 pm $25 Monday, July 4 • Parisi/O’Farrill/Lawitts Trio Shrine 7 pm êSoulstorm: Ivo Perelman, Daniel Levin; Michaël Attias’ Clinamen Orchestra with • Karl Berger Stone Workshop Orchestra with Frederika Krier, Miguel Malla, Steve Swell, êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong Ralph Alessi, Matt Moran, Sean Conly, Tom Rainey, Joachim Badenhorst, Mark Taylor, Village Vanguard 9, 11 pm $25 Ben Gerstein, Russ Lossing, John Hébert, Satoshi Takeishi Art Bailey, Jeremy Carlstedt, Jorge Sylvester, David Schnug, Stephen Gauci, Catherine Sikora, Skye Steele, Sylvain Leroux, Thomas Heberer, Patrick Glynn, êLou Donaldson Quartet Birdland 8:30, 11 pm $30 The Stone 8, 10 pm $10 • Antonio Ciacca The Bar on Fifth 8 pm Dmitry Baevsky Quartet with Jeb Patton, David Wong, Jason Brown; Orrin Evans Adam Caine, Dominic Lash, David Perrott, Adam Lane, Ingrid Sertso • The Stone 9 pm $20 • Ben Perowsky MSO with guest TK Wonder Group with Mark Gross, Marvin Sewell, Dwayne Burno, Vince Ector; Spike Wilner Trio Fort Greene Park 6 pm with Adam Cote, Brian Floody Smalls 7:30, 10 pm 1 am $20 • Jonathan Batiste Blue Note 8, 10:30 pm $20 • David Amram and Co. with Kevin Twigg, John de Witt, Adam Amram • Harlem Speaks: Warren Vaché Jazz Museum in Harlem 6:30 pm êCanada Day: Michael Bates Trio with JD Allen, Jeff Davis; The ExPat Ensemble: • Rick Stone Trio; Bossa Brasil: Mauricio de Souza, Bob Rodriguez, Debbie Kennedy Owen Howard, Andrew Rathbun, Dave Smith, Aidan O’Donnell Cornelia Street Café 8:30 pm $10 • Ehud Asherie solo; Ari Hoenig with Gilad Hekselman, Shai Maestro, Orlando Le Fleming; The Garage 6, 10:30 pm Cornelia Street Café 9, 10:30 pm $15 • Elio Villafranca World Financial Center 5:30 pm • Jerry Bergonzi Quartet with Bruce Barth, Dave Santoro, Devin Drobka Spencer Murphy Jam Smalls 7:30, 9:30 pm 12:30 am $20 • Fay Victor/Anders Nilsson 55Bar 7 pm • Mike Moreno Ensemble Citigroup Center Plaza 12:30 pm The Kitano 8, 10 pm $25 • Larry Ham Bryant Park 12:30 pm êDjango in June: Young Lions of Gypsy Jazz with Samson Schmitt, Ludovic Beier, • Maria Neckam Trio with Nir Felder, Thomas Morgan Doudou Cuillerier, Pierre Blanchard, Andreas Oberg, Brian Torff and guest Bar Next Door 8:30, 10:30 pm $12 Edmar Castaneda Birdland 8:30, 11 pm $30 • New School Jazz; Billy Kaye Jam Fat Cat 8:30 pm 12:30 am Friday, July 8 • David Gibson Quartet with Jared Gold, Julius Tolentino, Ed Cherry, Anwar Marshall; • Maggie Brown and Trio For My Sweet 7, 9 pm $10 êThe Music of Horace Silver: Harold Mabern, Jeremy Pelt, Ronnie Cuber, Nat Reeves, Alan Jay Palmer Band Fat Cat 10:30 pm 1:30 am • Howard Williams Jazz Orchestra; Ben Cliness Trio Joe Farnsworth Smoke 8, 10 pm $30 • In The Country: Morten Qvenild, Roger Arntzen, Pål Hausken The Garage 7, 10:30 pm êFrank Kimbrough Trio with Jay Anderson, Matt Wilson Norwegian Seamen’s Church 8 pm • Antonio Ciacca The Bar on Fifth 8 pm The Kitano 8, 10 pm $25 • Old Time Musketry: JP Schlegelmilch, Adam Schneit, Phil Rowan, Max Goldman • Larry Ham Bryant Park 12:30 pm • Jazzmobile: Jonathan Batiste Marcus Garvey Park 7 pm Tea Lounge 9, 10:30 pm êRed Rain Trio: Joe Hertenstein, , Pascal Niggenkemper; • Brandon Lee Trio Tutuma Social Club 7 pm Tuesday, July 5 Ken Vandermark, Steve Swell, Sean Conly, Chad Taylor • Rale Micic Trio with Corcoran Holt, Rodney Green êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong The Stone 8, 10 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 Village Vanguard 9, 11 pm $25 • Carmen Lundy Blue Note 8, 10:30 pm $30 • Miles Griffith Group Lenox Lounge 8:30, 10 pm $20 êLou Donaldson Quartet Birdland 8:30, 11 pm $30 êMike Pride/Robert Glasper Blue Note 12:30 am $10 • Jacam Manricks; Thana Alexa Quintet; Soi Shin Band with Guido Gonzalez, êRuss Lossing, Louie Belogenis, Kenny Wollesen; Angelica Sanchez/Wadada Leo Smith • Barbez; Anthony Coleman Le Poisson Rouge 7:30 pm $12 David Engelhard, Sebastien Ammann, Hyunwoo Han, Spiro Sinigos The Stone 8, 10 pm $10 • Brent Canter Group with Noah Preminger, Adam Klipple, Matt Clohesy, Greg Ritchie; Miles’ Café 7, 8:30, 10 pm $19.99 • Dario Boente and Proyecto Sur Jazz Standard 7:30, 9:30 pm $20 Myron Walden Group; Lawrence Leathers Jam • Kayo Hiraki Duo Tomi Jazz 9 pm $10 • Francois Grillot Trio with Catherine Sikora, David Miller; Trio with Smalls 7:30, 10 pm 1 am $20 • Antonio Ciacca The Bar on Fifth 8 pm , Steve Swell University of the Streets 8, 10 pm $10 • Amanda Baisinger with Ryan Scott, Pete Rende, Chris Morrisey, Dave Burnett • Nick Gianni’s Evolution Goodbye Blue Monday 10 pm • Jack Jeffers’ New York Classics Zinc Bar 8, 10, 11:30 pm Cornelia Street Café 9, 10:30 pm $15 • Evan Schwamm Quartet Cleopatra’s Needle 8 pm • Camila Meza; Freddie Bryant Kaleidoscope Trio with Patrice Blanchard, Willard Dyson; • Tribute to Ralph Mercado with MioSotis, Jr., Ray Sepulveda, • Hide Tanaka Trio; Kevin Dorn and the BIG 72 Alex Hoffman Jam Smalls 7:30, 9:30 pm 12:30 am $20 Tony Vega, Bobby Allende Damrosch Park 7:30 pm The Garage 6:15, 10:45 pm êAmanda Monaco Three with Michael Attias, Sean Conly êEJ Strickland Quintet with Jaleel Shaw, Marcus Strickland, George Colligan, • Ayako Shirasaki Bryant Park 12:30 pm Tomi Jazz 9 pm $10 Dezron Douglas Jazz Gallery 9, 10:30 pm $20 • Saul Rubin; ; Greg Glassman Jam • Dave Allen Trio with Drew Gress, Ted Poor Saturday, July 2 Fat Cat 7, 9 pm 12:30 am Bar Next Door 7:30, 9:30, 11:30 pm $12 • Billy Kaye; David Weiss Jam Fat Cat 10:30 pm 1:30 am êJoe McPhee, Ken Filiano, Lou Grassi; John Hébert’s Sounds of Love—The Music of • Bethany Wild with Glafkos Kontemeniotis, Everett Boyd; Isaac Darche with Jon Irabagon, Sean Wayland, Linda Oh, Jochen Reuckert; Adam Larson with Zubin Hensler, Chris Talio, • Marya Lawrence and Treasure Island with Kid Lucky, Erik Lawrence, Brian Charette, with Tim Berne, Taylor Ho Bynum, Fred Hersch, Ches Smith Rene Hart, Neil Ochoa Tea Lounge 9, 10:30 pm The Stone 8, 10 pm $10 Jason Burger Miles’ Café 7, 8:30, 10 pm $19.99 • Michika Fukumori solo The Kitano 8, 10 pm • Antonio Parisi NY South Vertigo Band with Livio Almeida, Scott Colberg, • Jazz Mafia Symphony Central Park Summerstage 7 pm Adam Mednard Tutuma Social Club 7 pm • Gary Lucas and Friends Iridium 8, 10 pm $25 • Jonathan Batiste Blue Note 8, 10:30 pm $20 • Víctor Prieto Terraza 7 9 pm • Alex Lane Group Lenox Lounge 8:30, 10 pm $20 êRez Abbasi Trio with Johannes Weidenmueller, Dan Weiss • Oscar Penas; Cara Campanelli/Adam Birnbaum; Rodrigo Bonelli Group with Bar Next Door 7:30, 9:30, 11:30 pm $12 • Big Band; Justin Lees Trio The Garage 7, 10:30 pm Jason Hunter, Alex Gordeev, Mike Shea, Jeff McAuliffe • Matt Lavelle and The Blessing with Ras Moshe, Francois Grillot, Bob Hubbard; Miles’ Café 7, 8:30, 10 pm $19.99 Flow Trio: Louie Belogenis, Joe Morris, Charles Downs • Antonio Ciacca The Bar on Fifth 8 pm • Nick Di Maria Shrine 6 pm • Mika Tomi Jazz 9 pm $10 University of the Streets 8, 10 pm $10 • Jun Miyake Quartet Cleopatra’s Needle 8 pm Dan Loomis Quartet with Robin Verheyen, Loren Stillman, Jared Schonig; • Larry Ham Bryant Park 12:30 pm • êRené Marie with Kevin Bales, Rodney Jordan, Quentin Baxter SPOKE: Justin Wood, Andy Hunter, Dan Loomis, Danny Fischer Wednesday, July 6 Jazz Standard 7:30, 9:30, 11:30 pm $30 Cornelia Street Café 9, 10:30 pm $15 êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong • Dan Weiss/Suneera Vyas Chanddayan Center 7 pm êRas Moshe, Andrew Drury, Anders Nilsson, Ken Filiano; Joe McPhee/Steve Swell Village Vanguard 9, 11 pm $25 • Yoni Kretzmer Two-Bass Quartet with Sean Conly, Pascal Niggenkemper, Mike Pride University of the Streets 8, 10 pm $10 êLou Donaldson Quartet Birdland 8:30, 11 pm $30 The Backroom 10 pm êFrank Wess; Rafi D’lugoff; Ned Goold Jam • Antonio Ciacca The Bar on Fifth 8 pm • Richie Vitale Quintet; Carlos Abadie Quintet; Tal Ronen Jam Fat Cat 7, 9 pm 12:30 am • Tessa Souter 55Bar 6 pm Fat Cat 7, 10 pm êBilly Fox’ Blackbirds and Bullets with Gary Pickard, Miki Hirose, Matt Parker, • Evan Schwam Quartet; Dre Barnes Project • Anthony Nelson Group Lenox Lounge 8:30, 10 pm $20 Julianne Carney, Evan Mazunik, , Arei Sekiguchi; The Garage 6:15, 10:45 pm • Diana Wayburn Ensemble with Nathan Bontrager, Michael Tepper, Michael Paolucci; Harris Eisenstadt September Trio with Ellery Eskelin, Angelica Sanchez • Larry Ham Bryant Park 12:30 pm Kae Reed Café Orwell 8 pm The Stone 8, 10 pm $10 • Andrea Brachfeld 600 12:30 pm • Liam Sillery Quintet with Matt Blostein, Jesse Stacken, Michael Bates, Vinnie Sperrazza; • Osmany Paredes Quartet with Yunior Terry, Ludwig Alfonso, Yusnier Sanchez Yutaka Uchida; Amir Rubinshtein; Alexander Clough Jazz Standard 7:30, 9:30 pm $20 Saturday, July 9 Miles’ Café 5:30, 7, 8:30, 10 pm $19.99 êCylinder: Darren Johnston, Aram Shelton, Lisa Mezzacappa, Kjell Nordeson • All Out Jazz: Yael Acher, Keith A Dames, Tove Langoff, John Martin Green, Barbès 8 pm $10 êFight the Big Bull: Bob Miller, Reggie Pace, Bryan Hooten, Jason Scott, John Lilley, David Brooks Nuyorican Poets Café 9 pm $15 • Jazzmobile: Arturo O’Farrill Grant’s Tomb 7 pm Matthew White, Cameron Ralston, Pinson Chanselle; Ken Vandermark/Chad Taylor • Scot Albertson Trio Tomi Jazz 9 pm $10 • Hot Club of Cowtown Damrosch Park 7:30 pm The Stone 8, 10 pm $10 • Brandon Sanders Quartet Cleopatra’s Needle 8 pm • Jimmy Bruno solo; Mike Ledonne Trio with Dwayne Burno, Joe Farnsworth; • Ari Hoenig Quartet with Gilad Hekselman, Shai Maestro, Orlando Le Fleming • Ron Carter’s Golden Striker Trio with Mulgrew Miller, Russell Malone Bruce Harris Quartet with Yasushi Nakamura, Jack Glottman, Aaron Kimmel Cornelia Street Café 9, 10:30 pm $15 Smoke 8, 10 pm $35 Smalls 7:30, 9:30 pm 12:30 am $20 êMatana Roberts’ Coin Coin with Daniel Levin, Shoko Nagai, Thomson Kneeland, • Kenny Garrett Quartet with Benito Gonzalez, Nat Reeves, Ronald Bruner • David Coss Quartet with John Chin, Marcus McLaurine, McClenty Hunter Tomas Fujiwara Jazz Gallery 9, 10:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $35 The Kitano 8, 10 pm êCylinder/Holus Bolus Double Quartet: Darren Johnston, Aram Shelton, • Sharel Cassity Quintet Dizzy’s Club 11:30 pm $15 • Sean Smith Quartet with John Ellis, John Hart, Russell Meissner Lisa Mezzacappa, Kjell Nordeson, Josh Sinton, Jonathan Goldberger, Peter Bitenc, • The Latin Side of John Coltrane: Conrad Herwig All-Stars with guest Bobby Watson 55Bar 7 pm Mike Pride Douglass Street Music Collective 8 pm $10 Blue Note 8, 10:30 pm $35 • Jerry Costanzo and Trio Metropolitan Room 9:30 pm $20 • Matt Bauder’s Day in Pictures with Justin Walter, Kris Davis, Jason Ajemian, Chad Taylor; êGerald Clayton Trio with Joe Sanders, Justin Brown • Catarina dos Santos with Marcos Vigio, Leco Reis, Robert di Pietro; Sebastian Cruz and Pedro Giraudo Sextet Barbès 5, 8 pm $10 Jazz Standard 7:30, 9:30, 11:30 pm $30 The Cheap Landscape with Stomu Takeishi, Ted Poor • Kenny Wessel Trio with Matt Pavolka, Russell Meisner • Renee Rosnes Quartet with Rich Perry, Peter Washington, Lewis Nash Cornelia Street Café 8:30, 10 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 Village Vanguard 9, 11 pm $25 • Mamiko Watanabe; Tom Tallitsch; Mark Miller Septet with Sean Harkness, Cliff Lyons, • Aaron Johnson Love Unlimited Trio with Akua Dixon, Salim Washington; • Mellisa Aldana Quartet with Gordon Au, Joe Lepore, Shinnosuke Takahashi; Anton Denner, Nicki Denner, Gary Wang, William “Beaver” Bausch Aaron Johnson Quintet with Salim Washington, Courtney Bryan, Robert Sabin, Malik Mike Fahn Group with John Hart, Mike McGuirk, Vinson Valega; Orrin Evans Group with Miles’ Café 7, 8:30, 10 pm $19.99 Washington University of the Streets 8, 10 pm $10 Mark Gross, Marvin Sewell, Dwayne Burno, Vince Ector; Eric Wyatt Group • Nicole Zuriatis Group Tomi Jazz 9 pm $10 êUnderground Horns Nublu 11:30 pm Smalls 5, 7:30, 10 pm 12:30 am $20 • Andrew Gutauskas/Vito Chiavuzzo Group • Richie Fells Quartet Lenox Lounge 8:30, 10 pm $20 • Jerry Bergonzi Quartet with Bruce Barth, Dave Santoro, Devin Drobka Brooklyn Lyceum 9:30 pm • Groover Trio; Raphael D’Lugoff Quintet; Alex Hoffman Quartet The Kitano 8, 10 pm $25 • Greg Diamond Flute Gramercy 8 pm Fat Cat 7, 10 pm 1:30 am êDjango in June: Young Lions of Gypsy Jazz with Samson Schmitt, Ludovic Beier, • Aki Yamamoto Trio Flute Bar 8 pm • Jonghun Song Sextet with Tom Gershwin, Evan Crane, Rodrigo Recabarren Doudou Cuillerier, Pierre Blanchard, Andreas Oberg, Brian Torff and guest • Edy Martínez Quartet with Samuel Torres, Ricky Rodríguez, Ludwig Afonso Tutuma Social Club 7 pm Edmar Castaneda Birdland 8:30, 11 pm $30 Terraza 7 9 pm • Debbie Dean with Jim Whitney, John Mettam • Antonio Ciacca The Bar on Fifth 8 pm • Emily Wolf Caffe Vivaldi 8:30 pm Tea Lounge 9, 10:30 pm • Daniel Levin Duo Downtown Music Gallery 6 pm êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong • Hiroshi Yamazaki; Ben Winkelman Trio with Desmond White, Andrew Gander; • Larry Newcomb Trio; Russ Spiegel Trio; Virginia Mayhew Quartet Village Vanguard 9, 11 pm $25 Dee Cassella; Matt Panayides Miles’ Café 4, 7, 8:30, 10 pm $19.99 The Garage 12, 6:15, 10:45 pm êLou Donaldson Quartet Birdland 8:30, 11 pm $30 • Masahiro Yamamoto Trio; The World Chocolate • Lionel Loueke Trio; Edmar Castaneda Trio with guest Andrea Tierra Tomi Jazz 8, 11 pm $10 Sunday, July 3 Madison Square Park 6 pm • The Tehran-Dakar Brothers: Sohrab Saadat Ladjevardi, Derek Nievergelt, Damon Banks, Alejandro Castellano, Satish, Doron Lev êLuis Lopes Humanization Quartet with Rodrigo Amado, Aaron and Stefan Gonzalez; • Antonio Ciacca The Bar on Fifth 8 pm • The ORourkestra Zinc Bar 8, 10, 11:30 pm Michiko Studios 7:30 pm $10 Kirk Knuffke, Stephen Gauci, Kenny Wollesen • Alma Moyo Terraza 7 10:30 pm The Stone 8, 10 pm $10 • Mark Devine Trio; Hot House The Garage 6, 10:30 pm • Score! Shrine 6 pm • Hot House Steven Gluz Band Cleopatra’s Needle 8 pm • Jaga Jazzist Le Poisson Rouge 8 pm $20 • Erika Dagnino/Blaise Siwula Café Orwell 8:30 pm • Eri Yamamoto Trio with Dave Ambrosio, Ikuo Takeuchi • Larry Ham Bryant Park 12:30 pm êJunior Mance/Hide Tanaka Saint Peter’s 1 pm $7 êThe Music of Horace Silver: Harold Mabern, Jeremy Pelt, Ronnie Cuber, Nat Reeves, Cornelia Street Café 8:30 pm $10 Joe Farnsworth Smoke 8, 10 pm $30 • Ruth Brisbane and Jon Roche Trio with Roman Ivanoff, Clifford Barbaro êFrank Kimbrough Trio with Jay Anderson, Matt Wilson Smalls 7:30 pm $20 Thursday, July 7 The Kitano 8, 10 pm $25 • /Charles Davis Walker’s 8 pm êRené Marie with Kevin Bales, Rodney Jordan, Quentin Baxter • Carmen Lundy Blue Note 8, 10:30 pm $30 • Terry Waldo’s Gotham City Band; AM FCBB; Brandon Lewis/Renee Cruz Jam Jazz Standard 7:30, 9:30 pm $30 • Jordan Young with Joe Sucato, Brian Charette; Chris Flory Trio; Fat Cat 6, 8:30 pm 12:30 am • Spike Wilner/Joel Press; Jeff Williams Group with John O’Gallagher, Duane Eubanks, Myron Walden Group; Stacy Dillard Trio with Diallo House, Ismail Lawal • Erika Dagnino with Sarah Bernstein, Steve Dalachinsky, Ras Moshe John Hébert; Carlos Abadie Quintet with Jonathan Lefcoski, Luca Santaniello, Smalls 4, 7:30, 10 pm 1 am $20 Shrine 9 pm Joe Sucato, Jason Stewart Smalls 7:30, 9:30 pm 12:30 am $20 êRené Marie with Kevin Bales, Rodney Jordan, Quentin Baxter • Gary Lucas and Friends Iridium 8, 10 pm $25 êBrandon Ross solo; Elliott Sharp/Mary Halvorson Jazz Standard 7:30, 9:30, 11:30 pm $30 • Kenny Garrett Quartet with Benito Gonzalez, Nat Reeves, Ronald Bruner The Stone 8, 10 pm $10 êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong Dizzy’s Club 7:30, 9:30 pm $30 • Nicki Parrott Trio with John DiMartino, Tim Horner Village Vanguard 9, 11 pm $25 • The Latin Side of John Coltrane: Conrad Herwig All-Stars with guest Dave Valentin The Kitano 8, 10 pm êLou Donaldson Quartet Birdland 8:30, 11 pm $30 Blue Note 8, 10:30 pm $35 • Jonathan Batiste David Rubenstein Atrium 8:30 pm • Antonio Ciacca The Bar on Fifth 8 pm êGerald Clayton Trio with Joe Sanders, Justin Brown • Shushmo: Tareq Abboushi/Hector Morales; Petr Cancura Lonesome Quartet with • Miguel Atwood-Ferguson Ensemble with guests José James, Pharoahe Monch Jazz Standard 7:30, 9:30 pm $25 Kirk Knuffke, Garth Stevenson, Robert Dipietro Annunciation Park 5 pm • Renee Rosnes Quartet with Rich Perry, Peter Washington, Lewis Nash Cornelia Street Café 8:30, 10 pm $10 • Fukushi Tainaka Trio; Champian Fulton Trio; Virginia Mayhew Quartet Village Vanguard 9, 11 pm $25 • Gregorio Uribe Big Band Zinc Bar 9, 11 pm 1 am The Garage 12, 6:15, 10:45 pm

36 July 2011 | THE NEW YORK CITY JAZZ RECORD Sunday, July 10 • Karl Berger Stone Workshop Orchestra with Frederika Krier, Miguel Malla, Steve Swell, • Michika Fukumori solo The Kitano 8, 10 pm Art Bailey, Jeremy Carlstedt, Jorge Sylvester, David Schnug, Stephen Gauci, • Mark Capon Trio Thalia Café 8 pm êLawnmower: Jim Hobbs, Steve Fell, Pete Fitzpatrick, Luther Gray; Catherine Sikora, Skye Steele, Sylvain Leroux, Thomas Heberer, Patrick Glynn, • Mike Dease Big Band; Paul Francis Trio Cylinder: Darren Johnston, Aram Shelton, Lisa Mezzacappa, Kjell Nordeson Adam Caine, Dominic Lash, David Perrott, Adam Lane, Ingrid Sertso The Garage 7, 10:30 pm The Stone 8, 10 pm $10 The Stone 9 pm $20 • Camille Thurman Shrine 7 pm ê Bucky Pizzarelli/Ed Laub Duo; Grant Stewart Quartet with David Hazeltine, Joel Forbes, êTrio Sabir: Michael Wimberly, William Parker, ; William Parker’s The • Ilia Skibinsky Pier 45 6:30 pm Phil Stewart Smalls 7:30, 10 pm $20 Essence of Ellington with , Steve Swell, Darius Jones, , • Isaac ben Ayala Bryant Park 12:30 pm • New Field: Pascal Niggenkemper, Robin Verheyen, Scott DuBois, Jeff Davis; Sabir Mateen, Dave Sewelson, Willie Applewhite Nathaniel Smith Quartet with Jake Saslow, Sam Minaie, Toru Dodo University of the Streets 8, 10 pm $10 Wednesday, July 13 Cornelia Street Café 8:30, 10 pm $10 • Ned Goold; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Katie Bull’s Freak Miracle with Landon Knoblock, Joe Fonda, George Schuller, êIngebrigt Håker Flaten/Joe McPhee; Tim Berne, Michael Formanek, Ches Smith • David White Jazz Orchestra Tea Lounge 9, 10:30 pm The Stone 8, 10 pm $10 Jeff Lederer; Greg Ward; Nick Gianni’s Evolution • Charenee Wade Zinc Bar 7 pm $7 Nublu 9 pm êJazzmobile: Houston Person Grant’s Tomb 7 pm • Angela Bingham Trio with Yotam Silberstein, Marco Panascia • Christian McBride and Inside Straight • Terry Waldo’s Gotham City Band; Jordan Young Group; Brandon Lewis/ Bar Next Door 8:30, 10:30 pm $12 Renee Cruz Jam Fat Cat 6, 9 pm 12:30 am Madison Square Park 7 pm • Xavier Davis The Bar on Fifth 8 pm êDarius Jones Trio with Cooper-Moore, Rakalam Bob Moses • Bill O’Connell Latin Jazz Allstars Birdland 9, 11 pm $30 • Kamal Abdul Alim/Eric Wyatt Group with Benito Gonzalez, Shinnosuke Takashi, • Xavier Davis The Bar on Fifth 8 pm Barbès 8 pm $10 Motoki Mihara For My Sweet 7, 9 pm $10 • Jane Bunnett/Hilario Duran Jazz Standard 7:30, 9:30 pm $20 • Joe Morris; Brad Farberman, Dave Sewelson, Josh Sinton; Michael Attias, Sean Conly, • Scot Albertson/Dr. Joel Utterback Tomi Jazz 9 pm $10 Mike Pride; Ras Moshe, Shayna Dulberger, Dave Miller, Chris Welcome êFat Cat Big Band; Orrin Evans Captain Black Big Band • Erika Dagnino/Ras Moshe Nightingale Lounge 7 pm Zinc Bar 7, 9, 10:30 pm 12 am The Local 269 7 pm $10 • Howard Williams Jazz Orchestra; Mayu Saeki Quartet • Peter Leitch/Harvie S Walker’s 8 pm êIvo Perelman Quartet with Matthew Shipp, Joe Morris, Luther Gray The Garage 7, 10:30 pm Issue Project Room 8 pm $10 • Erika Dagnino with Blaise Siwula, Ken Filiano, Sarah Bernstein; • Isaac ben Ayala Bryant Park 12:30 pm Michael Durek’s SK Orchestra ABC No Rio 7 pm $5 êRebirth South Street Seaport 10 pm • Senri Oe; and the Marco Paguia Trio; Faustina Abad Quintet • Bryn Roberts solo; Yotam Silberstein Trio; Craig Wuepper’s Earsight! with Peter Zak, Miles’ Café 5, 7, 8:30 pm $19.99 Tuesday, July 12 Mike DiRubbo, Dwayne Burno Smalls 7:30, 9:30 pm 12:30 am $20 • Noam Wisenberg; Aubrey Johnson/Jason Yeager êJoe Morris/Agustí Fernández; Ingebrigt Håker Flaten, Nate Wooley, Joe McPhee, • Jeb Patton Trio with David Wong, Pete Van Nostrand Caffe Vivaldi 7:15, 8:30 pm Joe Morris The Stone 8, 10 pm $10 The Kitano 8, 10 pm • John Wriggle Orchestra; New Tricks êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis • The Imp Duo: Mossa Bildner/Connie Crothers; Beaux Art Brass Quintet: Shrine 8, 10 pm Dizzy’s Club 7:30, 9:30 pm $30 Herb Robertson, Stephen Haynes, Mark Taylor, Steve Swell, Ben Stapp • Carmen Lundy Blue Note 8, 10:30 pm $30 • Kimberly Thompson Trio Dizzy’s Club 11 pm $15 University of the Streets 8, 10 pm $10 êRené Marie with Kevin Bales, Rodney Jordan, Quentin Baxter êSam Yahel Trio with Matt Penman, Jochen Rueckert • Rafi D’lugoff; Adam Larson; Ned Goold Jam Jazz Standard 7:30, 9:30 pm $30 Village Vanguard 9, 11 pm $25 Fat Cat 7, 9 pm 12:30 am êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong • Pablo Ziegler’s From Piazzolla to Ziegler with guest Sandra Luna • Erika Dagnino/Ras Moshe Goodbye Blue Monday 9 pm Village Vanguard 9, 11 pm $25 Birdland 8:30, 11 pm $30 • Thomas Heflin Brooklyn Lyceum 9:30 pm $10 • Yukari/Carlo Costa; Kyoko Kitamura/Jen Baker êJames Ilgenfritz’ The Glossary of Musical Terms with Douglas Detrick, Sam Kulik, • Bob Rodriguez Trio; Chantale Gagne Quartet; Jonathan Parker Downtown Music Gallery 6 pm Ingrid Laubrock, Yoni Kretzmer, Jackson Moore, Lily Maase, Brad Farberman, Miles’ Café 7, 8:30, 10 pm $19.99 • Rob Scheps Core-tet Saint Peter’s 5 pm Terrence McManus, Carl Testa, Sarah Bernstein, Jason Hwang, Anne Rhodes, • Yuakari’s Spicepot Tomi Jazz 9 pm $10 • Group with Boris Kozlov, Shinnosuke Takahashi and guest Evan Mazunik, Vincent Sperrazza, John O’Brien; William Parker’s The Essence of • Brian Villegas Flute Gramercy 8 pm Joe Magnarelli Riverbank State Park 5 pm Ellington with Dave Burrell, Steve Swell, Darius Jones, Rob Brown, Sabir Mateen, • Bossa Brasil: Mauricio de Souza, Alan Chaubert, John Lenis • Kuni Mikami Blue Note 12:30, 2:30 pm $24.50 Dave Sewelson, Willie Applewhite University of the Streets 8, 10 pm $10 Flute Bar 8 pm • Debbie Deane Douglass Street Music Collective 2 pm • Lainie Cooke with Onaje Allan Gumbs, Elias Bailey, Matt Wilson • Frente Cumbiero Terraza 7 9 pm • Camila Meza Trio North Square Lounge 12:30, 2 pm Cornelia Street Café 8:30 pm $10 • Matt Grossman Shrine 7 pm • Klezmer Brunch: Alon Nechustan’s Talat • Marianne Solivan Duo; Dave Gibson Group with Julius Tolentino, Jared Gold, êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis City Winery 11 am $12 Anwar Marshall; Ken Fowser/Behn Gillece Jam Dizzy’s Club 7:30, 9:30 pm $30 • Lou Caputo Quartet; David Coss and Trio; Joonsam Lee Trio Smalls 7:30, 9:30 pm 12:30 am $20 • Kimberly Thompson Trio Dizzy’s Club 11 pm $15 The Garage 11:30 am 7, 11:30 pm • Tine Bruhn with Lars Haake, Joel Holmes, Luques Curtis, Joe Blaxx; Rashied Ali Tribute êSam Yahel Trio with Matt Penman, Jochen Rueckert Band with Greg Murphy, Josh Evans, Joris Teepe, Lawrence Clark, Eric McPherson Village Vanguard 9, 11 pm $25 Monday, July 11 Zinc Bar 7, 9, 10:30 pm 12 am • Pablo Ziegler’s From Piazzolla to Ziegler with guest Sandra Luna • Palmetto Bug Stompers Damrosch Park 7:30 pm Birdland 8:30, 11 pm $30 êOliver Lake Trio with Santi Debriano, Pheeroan akLaff • Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam • Xavier Davis The Bar on Fifth 8 pm Clemente Soto Velez 8 pm $10 Fat Cat 7, 9 pm 12:30 am • Le Pompe Attack; The Anderson Brothers êWarren Vaché and John Allred with Harry Allen Quartet • Xavier Davis The Bar on Fifth 8 pm The Garage 6, 10:30 pm Feinstein’s 8 pm $20 êDeborah Latz; Joe Alterman Miles’ Café 7, 8:30 pm $19.99 • Isaac ben Ayala Bryant Park 12:30 pm êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 • Noriko Tomikawa Trio Tomi Jazz 9 pm $10 • Aaron Weinstein/Tedd Firth Saint Peter’s 1 pm $7 ê40Twenty: Vinnie Sperraza, Jacob Sacks, Jacob Garchik, Dave Ambrosio • /Freddie Bryant Bella Luna 8 pm Barbès 7 pm $10

THE NEW YORK CITY JAZZ RECORD | July 2011 37 Thursday, July 14 • Marc McDonald; Chris Davidson Quartet with Cory Sterling, Chris Nolte; Dave Kain • Tammy McCann/Bruce Barth; Jerome Sabbagh Group with Matt Brewer, Mark Ferber; Miles’ Café 7, 8:30, 10 pm $19.99 Alex Hoffman Jam Smalls 7:30, 9:30 pm 12:30 am $20 êHouston Person Quartet with Richard Wyands, Ray Drummond, Chip White • Assaf Ben-Nun/Arthur Sadowsky Project; Abe Ovadia Trio • Moment to Moment Trio: Deborah Latz, Hendrik Meurkens, Yoshi Waki Jazz Standard 7:30, 9:30 pm $25 Tomi Jazz 8, 11 pm $10 Cornelia Street Café 6 pm $15 • Airto with D Booker, Lew Soloff, Mark Egan, Jose Neto, Helio Alves • Ken Simon Quartet Cleopatra’s Needle 8 pm • Pete McCann with John O’Gallagher, Henry Hey, Matt Clohesy, Jordan Perlson Blue Note 8, 10:30 pm $30 êSteve Wilson Trio with Renee Rosnes, Peter Washington Cornelia Street Café 8:30 pm $10 êDon Friedman solo; Helen Sung Group; Josh Evans Jam The Kitano 8, 10 pm $25 • Jen Shyu; Angelica Sanchez Korzo 9, 10:30 pm $5 Smalls 7:30, 9:30 pm 12:30 am $20 • Nobuki Takamen with Ayako Higuchi, John Lenis, Yutaka Uchida; Dwayne Clemons • Jeffrey Roden; Gyan Riley The Stone 8, 10 pm $10 êTim Berne/Kris Davis Duo; Kris Davis, Ingrid Laubrock, Tyshawn Sorey with Josh Benko, Sacha Perry, Murray Wall, Jimmy Wormworth; • David Lopato with Marty Ehrlich, James Shipp, Ratzo Harris, Richie Barshay; The Stone 8, 10 pm $10 Rick Germanson Quartet with Eddie Henderson, Paul Gill, Lewis Nash; Max Johnson Trio with Kirk Knuffke, Ziv Ravitz • Tim Kuhl’s Doomsayer with Michael Formanek, Ben Gerstein, Jonathan Goldberger, Ian Hendrickson-Smith Group Smalls 4, 7:30, 10 pm 1 am $20 University of the Streets 8, 10 pm $10 Frantz Loriot, Jonathan Moritz Cornelia Street Café 8:30 pm $10 • Yosvany Terry Quintet Smoke 8, 10 pm $30 • Saul Rubin; Don Hahn; Greg Glassman Jam • Kermit Ruffins BBQ Swingers Hiro Ballroom 8 pm $35 êArmitage Gone! Dance with Vijay Iyer, Liberty Ellman, Okkyung Lee, Kassa Overall Fat Cat 7, 9 pm 12:30 am • Mahavishnu Project: Glenn Alexander, Jesse Gress, Peter Brendler, Gregg Bendian Central Park Summerstage 8 pm • JD Walter Quartet Zinc Bar 9, 10:30 pm 12 am Iridium 8, 10 pm $25 êHouston Person Quartet with Richard Wyands, Ray Drummond, Chip White • Hetty Kate Quartet with Ben Winkelman, Tal Ronen, Dan Aran; Paul Carlon; • Laura Hull Quintet with Patrick Firth, Vic Juris, Steve LaSpina, Matt Kane Jazz Standard 7:30, 9:30, 11:30 pm $30 Ahreum Hanyou/Jesse Choy Miles’ Café 7, 8:30, 10 pm $19.99 The Kitano 8, 10 pm • Airto with D Booker, Lew Soloff, Mark Egan, Jose Neto, Helio Alves • Miki Yoshitake Trio Tomi Jazz 9 pm $10 • Caravan Palace Damrosch Park 7:30 pm Blue Note 8, 10:30 pm $30 • Pablo Mayor Quartet with David Hertzberg, Néstor Gómez, Franco Pinna • Kinesis Trio: Joseph Lepore, Eric Person, Shinnosuke Takahashi • Michael Feinberg with Shane Endsley, Noah Preminger, Nir Felder, Julian Shore, Terraza 7 9 pm Bar Next Door 8:30, 10:30 pm $12 Daniel Platzman Blue Note 12:30 am $10 • Spike Wilner The Bar on Fifth 8 pm • Paris Wright; Greg Glassman/Stacy Dillard êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis • Jack Wilkins/Carl Barry Bella Luna 8 pm Fat Cat 7, 10 pm Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Michika Fukumori solo The Kitano 8, 10 pm • Claudio Marquez with Patriq Moody, Francesco Marcocci, Damion Corideo, Joel Mateo • Kimberly Thompson Trio Dizzy’s Club 12:45 am $15 • Lou Caputo Not So Big Band; Aaron Burnett Quartet Tutuma Social Club 7 pm êSam Yahel Trio with Matt Penman, Jochen Rueckert The Garage 7, 10:30 pm êDavid White Jazz Orchestra with Andrew Gould, Omar Daniels, , Sam Dillon, Village Vanguard 9, 11 pm $25 • Armen Donelian Bryant Park 12:30 pm Stephen Plekan, Miki Hirose, Volker Goetze, Alicia Rau, Michael Irwin, Melissa Gardiner, • Pablo Ziegler’s From Piazzolla to Ziegler with guest Sandra Luna Rick Parker, Barry Cooper, Rob Statel, Nick Consol, Doug Drewes; Napua Davoy Birdland 8:30, 11 pm $30 Wednesday, July 20 Miles’ Café 7, 8:30 pm $19.99 • Xavier Davis The Bar on Fifth 8 pm • Tomoko Omura Group Tomi Jazz 9 pm $10 êJazz in July - The Key Players: Kenny Barron, Bill Mays, , Bruce Barth, • Jeff Newell’s New-Trad Quartet The Waterfront Museum 1 pm Peter Washington, Willie Jones III 92nd Street Y 8 pm $25-65 • Eric Kurimski Terraza 7 9 pm • Daniela Schaechter Trio; Brooks Hartell Trio; Tim Price/Ryan Anselmi’s Tenor Madness • Keith Ingham Trio Cleopatra’s Needle 7 pm êThe Thirteenth Assembly: Taylor Ho Bynum, Tomas Fujiwara, Mary Halvorson, The Garage 12, 6:15, 10:45 pm Jessica Pavone; Bizingas: Brian Drye, Kirk Knuffke, Jonathan Goldberger, Ches Smith êBen Winkelman Trio Shrine 7 pm êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis University of the Streets 8, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 Sunday, July 17 êJazzmobile: Wycliffe Gordon Grant’s Tomb 7 pm • Kimberly Thompson Trio Dizzy’s Club 11 pm $15 êThe Fringe: , John Lockwood, Bob Gullotti êEllery Eskelin Barbès 8 pm $10 êSam Yahel Trio with Matt Penman, Jochen Rueckert MoMA Sculpture Garden 7 pm • Alexander Turnquist; Slow Six The Stone 8, 10 pm $10 Village Vanguard 9, 11 pm $25 êOther Dimension in Music: Roy Campbell, , William Parker, Charles Downs êJanice Friedman Trio with Ed Howard, • Pablo Ziegler’s From Piazzolla to Ziegler with guest Sandra Luna and guest Fay Victor 55Bar 10 pm The Kitano 8, 10 pm Birdland 8:30, 11 pm $30 • Bill O’Connell Latin Jazz Allstars Birdland 9, 11 pm $30 • Sebastian Noelle’s Koan with Loren Stillman, George Colligan, Thomson Kneeland, • Xavier Davis The Bar on Fifth 8 pm êSam Trapchak’s Put Together Funny with Greg Ward, Tom Chang, Arthur Vint Tony Moreno Cornelia Street Café 8:30 pm $10 • Michael Blake Trio with guest Bushra Rehman Cornelia Street Café 8:30 pm $10 • Jonathan Lefcoski solo; Tom Guarna Quartet; Simona Premazzi and The Intruders with Fort Greene Park 6 pm êAdam Kolker, John Hébert, Billy Mintz Stacy Dillard, Darrell Green, Ryan Berg • Dave Kain Group; Alex Stein/Matt Brown Quartet Sycamore 8:30 pm $10 Smalls 7:30, 9:30 pm 12:30 am $20 The Garage 6, 10:30 pm • Ruth Brisbane and Jon Roche Trio with Roman Ivanoff, Saul Rubin, Clifford Barbaro; • Melissa Stylianou with Pete McCann, Gary Wang, Jamie Reynolds, Rodney Green • Jonathan Batiste Band Citigroup Center Plaza 12:30 pm Charles Owens Quartet with Jeremy Manasia, Hans Glawischnig, Joe Strasser 55Bar 7 pm • Isaac ben Ayala Bryant Park 12:30 pm Smalls 7:30, 10 pm $20 • Eric Comstock/Barbara Fasano Jazz Museum in Harlem 7 pm • Matt Lavelle, James Keepnews, Francois Grillot, Dave Miller; Pascal Niggenkemper • Rafi D’lugoff; Billy Kaye; Ned Goold Jam Friday, July 15 Shoko Nagai, Yukari Watanabe Brecht Forum 8 pm $10 Fat Cat 7, 9 pm 12:30 am • Terry Waldo’s Gotham City Band; Alex Hoffman /Jackie McLean Project; • Dorian Devins Quartet Flute Gramercy 8 pm êSteve Wilson Trio with Renee Rosnes, Peter Washington Brandon Lewis/Renee Cruz Jam Fat Cat 6, 9 pm 12:30 am • Alicia Morrisey Flute Bar 8 pm The Kitano 8, 10 pm $25 • SOM; Nick Gianni’s Evolution Nublu 9, 10 pm • PJ Rasmussen; Max Cudworth; YoungJoo Song Trio • Mike Lee and New Tricks with Ted Chubb, Kellen Harrison, Shawn Baltazor; • Peter Leitch/Sean Smith Walker’s 8 pm Miles’ Café 7, 8:30, 10 pm $19.99 Rick Germanson Quartet with Eddie Henderson, Paul Gill, Lewis Nash; Spike Wilner • Igor Von De Heilichtson III; Frantz Loriot, Sean Ali, Carlo Costa • Blue Vipers of Brooklyn Tomi Jazz 9 pm $10 Trio with Adam Cote, Brian Floody Smalls 7:30, 10 pm 1 am $20 ABC No Rio 7 pm $5 • Edy Martínez Quartet with Samuel Torres, Ricky Rodríguez, Ludwig Afonso êNate Wooley Quintet with Josh Sinton, Matt Moran, Dan Peck, Harris Eisenstadt; • Jason Prover; Abe Ovadia Quartet Caffe Vivaldi 7:15, 8:30 pm Terraza 7 9 pm Adam Lane’s Full Throttle Orchestra with Nate Wooley, Herb Robertson, , • Shrine Big Band Shrine 9 pm • Joe Alterman Trio Caffe Vivaldi 8:30 pm David Bindman, Matt Bauder, Reut Regev, Tim Vaughn, Igal Foni êHouston Person Quartet with Richard Wyands, Ray Drummond, Chip White êLouis Hayes Quintet Birdland 8:30, 11 pm $30 The Stone 8, 10 pm $10 Jazz Standard 7:30, 9:30 pm $25 êFred Hersch Trio with John Hébert, Eric McPherson êMatt Mitchell with Tim Berne, Oscar Noriega, Mary Halvorson, John Hébert, • Airto with D Booker, Lew Soloff, Mark Egan, Jose Neto, Helio Alves Village Vanguard 9, 11 pm $25 Tomas Fujiwara Cornelia Street Café 9, 10:30 pm $15 Blue Note 8, 10:30 pm $30 • Earl Klugh Blue Note 8, 10:30 pm $35 • The Hendrix Project: George Colligan, Rudresh Mahanthappa, Jerome Harris, êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis • Tierney Sutton Band with Christian Jacob, Kevin Axt, Ralph Humphrey Donald Edwards Iridium 8, 10 pm $27.50 Dizzy’s Club 7:30, 9:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $30 • Yosvany Terry Quintet Smoke 8, 10 pm $30 êSam Yahel Trio with Matt Penman, Jochen Rueckert • Robert Rodriguez Trio Dizzy’s Club 11 pm $15 • Avery Sharpe Quintet with , Onaje Allen Gumbs, Yoron Israel, Maya Sharpe Village Vanguard 9, 11 pm $25 • Animation: Bob Belden, Tim Hagans, Jordan Gheen, Jacob Smith, Matt Young Rubin Museum 7 pm $20 • Xavier Davis The Bar on Fifth 8 pm Jazz Standard 7:30, 9:30 pm $25 êArmitage Gone! Dance with Vijay Iyer, Liberty Ellman, Okkyung Lee, Kassa Overall • Simon Jermyn, Christof Knoche, Joe Hertenstein • Spike Wilner The Bar on Fifth 8 pm Central Park Summerstage 8 pm Downtown Music Gallery 6 pm • Bernal/Eckroth/Ennis; Joel Perry Trio • Tillery: Rebecca Martin, Gretchen Parlato, Becca Stevens • Dave Cook Trio Saint Peter’s 5 pm The Garage 6, 10:30 pm The Jazz Gallery 9, 10:30 pm $20 • Dave Valentin Orchard Beach Stage 12 pm • Faiz Lamouri Shrine 6 pm • Jake Saslow Trio with Matt Clohesy, Tommy Crane • Tammy McCann Blue Note 12:30, 2:30 pm $24.50 • Armen Donelian Bryant Park 12:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Beat Kaestli with Victor Prieto, Gary Wang • Susan Pereira and Sabor Brasil 101 Park Avenue 12:30 pm • Jazzmobile: Gregory Generet Marcus Garvey Park 7 pm North Square Lounge 12:30, 2 pm • Bucky Pizzarelli/Ed Laub Saint Peter’s 1 pm $7 êUnderground Horns; Brian Carpenter’s Ghost Train Orchestra with Mazz Swift, • Klezmer Brunch: Oran Etkin City Winery 11 am $12 , Petr Cancura, Curtis Hasselbring, Ron Caswell, Avi Bortnick, • Ben Healy Trio; David Coss and Trio; Masami Ishikawa Trio Joe Fitzgerald, Rob Garcia Barbès 8, 10 pm $10 Thursday, July 21 The Garage 11:30 am 7, 11:30 pm êJazz in July - Summer Serenade, The Music of Benny Carter: Mary Stallings, • Carl Bartlett Jr. Quartet Lenox Lounge 8:30, 10 pm $20 • Samba De Gringo Fat Cat 10:30 pm Monday, July 18 Phil Woods, Jon Gordon, Harry Allen, Jimmy Greene, Gary Smulyan, Bill Charlap, • Tom Thorndike Trio; Ed Cherry Trio with Kyle Koehler, McClenty Hunter Peter Washington, Kenny Washington Miles’ Café 8:30, 10 pm $19.99 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 92nd Street Y 8 pm $25-65 • Michika Fukumori Duo Tomi Jazz 9 pm $10 • Karl Berger Stone Workshop Orchestra with Frederika Krier, Miguel Malla, Steve Swell, êPat Martino Quartet with John David Simon, Lucas Brown, Shawn Hill • Fatum Brothers Quintet Tutuma Social Club 7 pm Art Bailey, Jeremy Carlstedt, Jorge Sylvester, David Schnug, Stephen Gauci, Jazz Standard 7:30, 9:30 pm $30 • Chía´s Dance Party Terraza 7 10:30 pm Catherine Sikora, Skye Steele, Sylvain Leroux, Thomas Heberer, Patrick Glynn, • TIN/BAG: Kris Tiner/Mike Baggetta; Trio Caveat: Jonathan Moritz, John Mclellan, • Yaacov Mayman Quartet Cleopatra’s Needle 8 pm Adam Caine, Dominic Lash, David Perrott, Adam Lane, Ingrid Sertso James Ilgenfritz, Mat Maneri Brooklyn Conservatory of Music 8 pm $15 êHouston Person Quartet with Richard Wyands, Ray Drummond, Chip White The Stone 9 pm $20 êThe New Mellow Edwards: Curtis Hasselbring, Chris Speed, Trevor Dunn, Ted Poor Jazz Standard 7:30, 9:30, 11:30 pm $30 • Tammy McCann Quintet Dizzy’s Club 7:30, 9:30 pm $20 Barbès 10 pm $10 • Airto with D Booker, Lew Soloff, Mark Egan, Jose Neto, Helio Alves êErik Deutsch/Allison Miller Quartet with Marty Ehrlich, Trevor Dunn • Ehud Asherie solo; Dayna Stephens Group with Mike Moreno, Taylor Eigsti, Blue Note 8, 10:30 pm $30 Cornelia Street Café 8:30 pm $10 Kiyoshi Kitagawa; Kendrick Scott; Carlos Abadie Quintet with Jonathan Lefcoski, • Kris Davis and guests Blue Note 12:30 am $10 êPositive Knowledge: Ijeoma and Oluyemi Thomas, Michael Wimberly; Kyoko Kitamura, Luca Santaniello, Joe Sucato, Jason Stewart êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis Jim Staley, Nate Wooley Clemente Soto Velez 7 pm $10 Smalls 7:30, 9:30 pm 12:30 am $20 Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Stephanie Stone; with Francois Grillot, Jackson Krall • Dave Schnitter; Jojo Fat Cat 7, 10 pm • Kimberly Thompson Trio Dizzy’s Club 12:45 am $15 University of the Streets 8, 10 pm $10 • James Shipp Trio with Mike LaValle, Rogerio Boccato êSam Yahel Trio with Matt Penman, Jochen Rueckert êBrian Charette Organ Sextette 55Bar 10 pm Bar Next Door 8:30, 10:30 pm $12 Village Vanguard 9, 11 pm $25 • Avi Rothbard solo; Ari Hoenig Quartet with Gilad Hekselman, Shai Maestro; • Tom Chang Quartet with Greg Ward, Matt Clohesy, Rob Garcia • Pablo Ziegler’s From Piazzolla to Ziegler with guest Sandra Luna Spencer Murphy Jam Smalls 7:30, 9:30 pm 12:30 am $20 Cornelia Street Café 8:30 pm $10 Birdland 8:30, 11 pm $30 • Corin Stiggal; Billy Kaye Jam Fat Cat 9 pm 12:30 am • John Benítez and Friends Terraza 7 9 pm • Xavier Davis The Bar on Fifth 8 pm • Yaozeki Big Band Tea Lounge 9, 10:30 pm • Michael Harrison; Nurit Tilles The Stone 8, 10 pm $10 • Ryan Anselmi Quintet; Kevin Dorn and the BIG 72 • Spike Wilner The Bar on Fifth 8 pm • Evgeny Sivtzov Quartet with Stas Dolzhkov, Dan Loomis The Garage 6:15, 10:45 pm • Jacob Varmus Quartet Tomi Jazz 9 pm $10 The Kitano 8, 10 pm • Isaac ben Ayala Bryant Park 12:30 pm • Magos Herrera Trio with Nir Felder, Ricky Rodriguez • Danny Sher Sextet with Peter Schlamb, Jeremy Viner, Travis Reuter, Red Wierenga, • Linda Ipanema and The Dixie Cats 600 Third Avenue 12:30 pm Bar Next Door 8:30, 10:30 pm $12 Evan Gregor Tea Lounge 9, 10:30 pm • Camila Meza Zinc Bar 7 pm $7 • Jazz Patrol: Roy Suter, Nick Stefanacci, Gene Torres, Eric Braverman; Saturday, July 16 • Sakofa Soulz For My Sweet 7, 9 pm $10 Billy White Group; E.B.E.R.T Miles’ Café 7, 8:30, 10 pm $19.99 • Howard Williams Jazz Orchestra; Kenny Shanker Quartet • Yuko Okamoto Quartet Tomi Jazz 9 pm $10 êMario Pavone Arc Suite Music with Tony Malaby, Dave Ballou, Craig Taborn, The Garage 7, 10:30 pm • Faiz Lamouri Quintet Tutuma Social Club 7 pm Michael Pavone, Matt Wilson Cornelia Street Café 9, 10:30 pm $15 • Armen Donelian Bryant Park 12:30 pm • Dan Furman Trio Cleopatra’s Needle 7 pm êTribute to Jacquet: Harlem Renaissance Orchestra with guest Billy Harper êLouis Hayes Quintet Birdland 8:30, 11 pm $30 Damrosch Park 7:30 pm Tuesday, July 19 êFred Hersch Trio with John Hébert, Eric McPherson • John Zorn Improv Night The Stone 8, 10 pm $20 êJazz in July - Swing, Swing, Swing!: Marilyn Maye, Bucky Pizzarelli, Houston Person, Village Vanguard 9, 11 pm $25 êAndrew Drury’s Content Provider with Briggan Krauss, Chris Speed; Darius Jones’ • Earl Klugh Blue Note 8, 10:30 pm $35 Grass Roots with Alex Harding, Sean Conly, Chad Taylor Ken Peplowski, Aaron Weinstein, Bill Charlap, Jay Leonhart, Dennis Mackrell 92nd Street Y 8 pm $25-65 • Tierney Sutton Band with Christian Jacob, Kevin Axt, Ralph Humphrey University of the Streets 8, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 êMatt Bauder’s Day in Pictures with Matt Mitchell, Michael Bates, Tomas Fujiwara; êLouis Hayes Quintet Birdland 8:30, 11 pm $30 êFred Hersch Trio with John Hébert, Eric McPherson • Robert Rodriguez Trio Dizzy’s Club 11 pm $15 Mr. Ho’s Orchestrotica Quartet: Brian O’Neill, Geni Skendo, Jon Singer, Kendall Eddy • Spike Wilner The Bar on Fifth 8 pm Barbès 8, 10 pm $10 Village Vanguard 9, 11 pm $25 Ben Williams & Sound Effect; Pedro Giraudo Jazz Orchestra • Charlie Burnham Trio with guest Tara Betts • George Colligan Trio with Boris Kozlov, Donald Edwards • Fort Greene Park 6 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 92YTribeca 8 pm $12 Earl Klugh Blue Note 8, 10:30 pm $35 • Joe Saylor and Friends; Dylan Meek Trio êJaleel Shaw Quartet with Lawrence Fields, Hans Glawischnig, Justin Faulkner • The Garage 6, 10:30 pm The Jazz Gallery 9, 10:30 pm $20 • Tierney Sutton Band with Christian Jacob, Kevin Axt, Ralph Humphrey Dizzy’s Club 7:30, 9:30 pm $30 • Rodrigo Bonelli Group; Eric Pierce Shrine 6, 8 pm • Judith Insell; Ras Moshe, Joel Freedman, Roy Campbell, Dave Ross, Shayna Dulberger; • Akiko Tsuruga Quartet with Frank Wess Hans Tammen’s Iron Foundry Brecht Forum 8 pm $10 • Robert Rodriguez Trio Dizzy’s Club 11 pm $15 • Animation: Bob Belden, Tim Hagans, Jordan Gheen, Jacob Smith, Matt Young Citigroup Center Plaza 12:30 pm • Lawrence Clark; Simona Premazzi; Ryan Berg Jam • Armen Donelian Bryant Park 12:30 pm Fat Cat 7, 10 pm 1:30 am Jazz Standard 7:30, 9:30 pm $25 • Dylan Meek Trio Lenox Lounge 8:30, 10 pm $20 • Mike Longo Trio NYC Baha’i Center 8, 9:30 pm $15

38 July 2011 | THE NEW YORK CITY JAZZ RECORD ê3 Pianos/Taylor Made - A Jazzmobile Tribute to Dr. Billy Taylor: Barry Harris, , Friday, July 22 Monday, July 25 Christian Sands with Chip Jackson, Winard Harper, , Tia Fuller, êDavid Hazeltine Quintet with Eddie Henderson, Mike DiRubbo, , êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 Craig Harris, Melba Joyce Damrosch Park 7:30 pm Billy Drummond Smoke 8, 10 pm $30 • Karl Berger Stone Workshop Orchestra with Frederika Krier, Miguel Malla, Steve Swell, • Ehud Asherie solo; Ralph Bowen Group with Jim Ridl, Kenny Davis, Billy Drummond; • Margarent Leng Tan; Richard Teitelbaum Art Bailey, Jeremy Carlstedt, Jorge Sylvester, David Schnug, Stephen Gauci, Josh Evans Jam Smalls 7:30, 9:30 pm 12:30 am $20 The Stone 8, 10 pm $10 Catherine Sikora, Skye Steele, Sylvain Leroux, Thomas Heberer, Patrick Glynn, • /Rosi Hertlein; Monique Buzzarte êCarlo DeRosa’s Cross-Fade with Mark Shim, Vijay Iyer, Marcus Gilmore Adam Caine, Dominic Lash, David Perrott, Adam Lane, Ingrid Sertso The Stone 8, 10 pm $10 Cornelia Street Café 9, 10:30 pm $15 The Stone 9 pm $20 êRichard Sussman Quartet with Dick Oatts, Jay Anderson, Steve Johns êJosh Sinton solo; Tomas Fujiwara and the Hook-up with Brian Settles, • Dominick Farinacci Sextet with Dan Kaufman, Yasushi Nakamura, Lawrence Leathers, The Kitano 8, 10 pm Jonathan Finlayson, Mary Halvorson, Danton Boller; New Trio: Frantz Loriot, Sean Ali, Keita Ogawa, Guilherme Monteiro and guest Jonathan Batiste • Nikolaj Hess Trio with Johannes Weidenmuller, Gregory Hutchinson Carlo Costa Douglass Street Music Collective 8, 9, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 Cornelia Street Café 8:30 pm $10 • Kerry Politzer Quartet with Alex Norris, Paul Beaudry, Danny Fischer; • Joel Harrison/Anupam Shobhakar Quintet with Dan Weiss êGowanus Co.: James Falzone, Josh Sinton, Owen Stewart-Robertson, Dominic Lash, George Colligan Group with Tom Guarna, Boris Kozlov, Rudy Royston; 55Bar 10 pm $10 James Ilgenfritz, Jason Mears, Kyoko Kitamura, Jean Carla Rodea, Devin Gray, Lawrence Leathers Jam Smalls 7:30, 10 pm 1 am $20 • George Schuller’s Circle Wide with Brad Shepik, Jason Rigby; Ben Gerstein with Weasel Walter, Jeremiah Cymerman, Vinnie Sperrazza, Pascal Niggenkemper êDarius Jones Quartet with Matt Mitchell, Trevor Dunn, Ches Smith Jonathan Moritz, Dan Peck, Garth Stevenson, Ches Smith Douglass Street Music Collective 8 pm $10 I-Beam 8 pm $10 University of the Streets 8, 10 pm $10 • /Anat Cohen Duo Bar Next Door 8:30, 10:30 pm $12 • Ed Cherry Quartet Fat Cat 10:30 pm êPeter Bernstein solo; Ari Hoenig Quartet; Spencer Murphy Jam • Pete Yellin; Greg Glassman/Stacy Dillard • Lafayette Harris Group Lenox Lounge 8:30, 10 pm $20 Smalls 7:30, 9:30 pm 12:30 am $20 Fat Cat 7, 10 pm êJazzmobile: Yosvany Terry Marcus Garvey Park 7 pm • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Wayne Tucker with Roxy Coss, Chris Pattishall, Shawn Conley, Dan Pugach • Mike Moreno Group The Jazz Gallery 9, 10:30 pm $20 • Kenneth Salters Sextet; Joonsam Lee Quartet Tea Lounge 9, 10:30 pm • Joyce Breach Trio with Jon Weber, Neal Miner Cornelia Street Café 8:30, 10 pm $10 • Yvonne Simone; Carl Fischer Organic Groove Ensemble; Yoko Miwa with The Kitano 8, 10 pm $25 • Scott Reeves Orchestra Tea Lounge 9, 10:30 pm Greg Loughman, Scott Goulding Miles’ Café 7, 8:30, 10 pm $19.99 • Bonnie Kane/Chris Welcome; Harvey Valdes/Damion Reid; Welf Dorr, Ben Stapp, • Ehud Asherie The Bar on Fifth 8 pm • Moneco-Peruvian Amazonic Cumbia: Eric Kurimski, Ben Willis, Jorge Olmedo, Noel Brennan Café Orwell 8 pm • The Magic Trio: Chris McNulty, Paul Bollenback, Yayo Serka Terraza 7 10:30 pm • Paul Bollenback Trio with Joseph Lepore, McClenty Hunter Bar Next Door 8:30, 10:30 pm $12 • Jon Weiss Trio Cleopatra’s Needle 7 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Lezlie Harrison Zinc Bar 7 pm $7 êPaul Motian Septet with Chris Cheek, Bill McHenry, Steve Cardenas, Mat Maneri, • Kelley Suttenfield with Michael Cabe, Tony Romano, Matt Aronoff, Brian Adler; • The Last Poets For My Sweet 7, 9 pm $10 Jacob Sacks, Thomas Morgan Village Vanguard 9, 11 pm $25 Mala Waldron; Joe Pino Quartet Miles’ Café 7, 8:30, 10 pm $19.99 • Howard Williams Jazz Orchestra; Kyoko Oyobe Trio • Fourplay: Bob James, Nathan East, Chuck Loeb, • Gary Negbaur Tomi Jazz 9 pm $10 The Garage 7, 10:30 pm Blue Note 8, 10:30 pm $45 • Tom Csatari’s Ecotone Tutuma Social Club 7 pm • Dona Carter Bryant Park 12:30 pm • Leny Andrade Birdland 8:30, 11 pm $30 • Cumbiagra: Brian Glashow, Brian Lazarus, George Saenz, Rafael Gomez • Claudia Acuña Quintet with Marc Cary, Mark Kelley, Yayo Serka, Juancho Herrera Terraza 7 10:30 pm Tuesday, July 26 Dizzy’s Club 7:30, 9:30 pm $30 • Marc Devine Quartet Cleopatra’s Needle 8 pm êJazz in July - True Blue, The Blue Note Records Legacy: Randy Brecker, Steve Wilson, • John Benitez Group Dizzy’s Club 11 pm $15 êPat Martino Quartet with John David Simon, Lucas Brown, Shawn Hill Eric Alexander, Dave Stryker, Bill Charlap, Renee Rosnes, Peter Washington, • 6 Seeds: Senri Oe and guests Tomi Jazz 9 pm $10 Jazz Standard 7:30, 9:30 pm $30 • Ehud Asherie The Bar on Fifth 8 pm ê Lewis Nash 92nd Street Y 8 pm $25-65 Louis Hayes Quintet Birdland 8:30, 11 pm $30 êPaul Motian Septet with Chris Cheek, Bill McHenry, Steve Cardenas, Mat Maneri, • Harlem Speaks: Lew Tabackin Jazz Museum in Harlem 6:30 pm êFred Hersch Trio with John Hébert, Eric McPherson Jacob Sacks, Thomas Morgan Village Vanguard 9, 11 pm $25 • Dave Fiuczynski Group with guest Cornelius Eady Village Vanguard 9, 11 pm $25 • Fourplay: Bob James, Nathan East, Chuck Loeb, Harvey Mason Fort Greene Park 6 pm • Earl Klugh Blue Note 8, 10:30 pm $35 Blue Note 8, 10:30 pm $45 • Champian Fulton Trio; Alan Chaubert Trio êMarcus Gilmore and guests Blue Note 12:30 am $10 • Leny Andrade Birdland 8:30, 11 pm $30 The Garage 6, 10:30 pm • Tierney Sutton Band with Christian Jacob, Kevin Axt, Ralph Humphrey • Claudia Acuña Quintet with Marc Cary, Mark Kelley, Yayo Serka, Juancho Herrera êJosé James Metrotech Commons 12 pm Dizzy’s Club 7:30, 9:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $30 • Anat Cohen Ensemble Citigroup Center Plaza 12:30 pm • Robert Rodriguez Trio Dizzy’s Club 11 pm $15 • John Benitez Group Dizzy’s Club 11 pm $15 • Dona Carter Bryant Park 12:30 pm • Spike Wilner The Bar on Fifth 8 pm • Rob Duguay’s Songevity with Abraham Burton, Noah Preminger, Yvonne Simone, • Austin Walker Trio; Jean Caze Trio The Garage 6:15, 10:45 pm Justin Kauflin, Nadav Snir-Zelniker Jazz Standard 7:30, 9:30 pm $20 Friday, July 29 • Armen Donelian Bryant Park 12:30 pm Jeff Siegal Quintet NYC Baha’i Center 8, 9:30 pm $15 Eric Person and Metamorphosis 600 Third Avenue 12:30 pm • êDon Byron New Gospel Quintet; Burnt Sugar • • Andrew Rathbun’s Idea of North with Nate Radley, Gary Versace, Jay Anderson, Damrosch Park 7:30 pm Michael Sarin Cornelia Street Café 8:30 pm $10 êAdam Rudolph’s Moving Pictures Octet with , Graham Haynes, Saturday, July 23 êRuss Lossing Oracle Trio with Masa Kamaguchi, Billy Mintz; Renku: Michael Attias, Brahim Fribgane, Kenny Wessel, Peter Apfelbaum, Jerome Harris, Matt Kilmer • Warren Chiasson Quartet Tribute To George Shearing with Andy Laverne, Jon Burr, John Hébert, Satoshi Takeishi Korzo 9, 10:30 pm $5 Jazz Gallery 9, 10:30 pm $20 Jimmy Madison The Kitano 8, 10 pm $25 • David Binney with Jacob Sacks, Thomas Morgan, Dan Weiss êMary Halvorson Quintet with Jonathan Finlayson, Jon Irabagon, John Hébert, êLaurie Monahan; Min Xiao-Fen, Jane Ira Bloom, Jin Hi Kim 55Bar 10 pm Ches Smith Cornelia Street Café 9, 10:30 pm $15 The Stone 8, 10 pm $10 • Greg Heffernan; David Virelles Trio Seeds 7:30, 9 pm $10 êJames Falzone/Okkyung Lee; James Falzone’s Ground Quartet with Nate Wooley, • Ben Monder Trio with Gary Versace, Ted Poor • Yaala Ballin/Ari Roland; Ray Gallon Trio with David Wong, Peter Van Nostrand; Dominic Lash, Harris Eisenstadt I-Beam 9 pm $10 Cornelia Street Café 9, 10:30 pm $15 Ken Fowser/Behn Gillece Jam Smalls 7:30, 9:30 pm 12:30 am $20 • Mike Clark’s Indigo Blue with Wallace Roney, Donald Harrison, Rob Dixon, êBob Stewart/Michele Rosewoman; Will Connell’s Sadhana with Vincent Chancey, • SO Percussion; Miguel Frasconi The Stone 8, 10 pm $10 Antonio Farao, Christian McBride Iridium 8, 10 pm $30 Max Johnson, Jeremy Carlstedt University of the Streets 8, 10 pm $10 êDeborah Weisz Trio with Ratzo Harris, Eric Halvorson; , Kirk Nurock, • Benjamin Drazen Quartet with Jon Davis, Carlo DeRosa, Jochen Rueckert; êMichael Cain Trio with Lonnie Plaxico, Rudy Royston Max Johnson University of the Streets 8, 10 pm $10 Logan Richardson Group with Greg Osby, Sam Harris, Burniss Travis, Nasheet Waits; Jazz Gallery 9, 10:30 pm $20 • Saul Rubin; Itai Kriss Salsa All-Stars; Greg Glassman Jam Spike Wilner Trio with Adam Cote, Brian Floody • Dan Ori Trio with Oz Noy, Ziv Ravitz Fat Cat 7, 9 pm 12:30 am Smalls 7:30, 10 pm 1 am $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Matthew Silberman and Press Play with Ryan Ferreira, Greg Ruggiero, Chris Tordini, êDanny Mixon Quartet Lenox Lounge 8:30, 10 pm $20 • Tori Gee Group Lenox Lounge 8:30, 10 pm $20 Tommy Crane The Local 269 11 pm • Javon Jackson Quartet with Joel Holmes, Corcoran Holt, McClenty Hunter • Ruth Aguilar with David Epstein, Steve LaSpina, Samuel Torres; Chad McLoughlin Trio; • Emilio Teubal Quartet with Moto Fukushima, Tupac Mantilla, Xavier Perez Smoke 8, 10 pm $30 Jeff King Band with Yuiche Uzeki, Bryce Sebastian, George Gray Nublu 9 pm • Anat Cohen Quartet The Kitano 8, 10 pm $25 Miles’ Café 7, 8:30, 10 pm $19.99 • Grupo Los Santos: Paul Carlon, Peter Smith, David Ambrosio, William “Beaver” Bausch; • Jazzmobile Marcus Garvey Park 7 pm • Daniel Bennett Group Tomi Jazz 8 pm $10 Brad Linde Miles’ Café 7, 8:30 pm $19.99 • ; The Stone 8, 10 pm $10 • Elena Lazo Peruvian Quartet Tutuma Social Club 7 pm • 6 Seeds: Senri Oe and guests Tomi Jazz 9 pm $10 • Nu Soil; Alan Palmer Jam Fat Cat 10:30 pm 1:30 am • Sharon Fisher Quartet Cleopatra’s Needle 8 pm • Ehud Asherie The Bar on Fifth 8 pm • Joanna Teters Experiment with Ben Carr, Ted Morcaldi, Zane West; Stephanie McB êDavid Hazeltine Quintet with Eddie Henderson, Mike DiRubbo, George Mraz, • Michika Fukumori solo The Kitano 8, 10 pm Ensemble with Billy Test, Parker McAllister, Charles Burchell; Joey Berkley Quartet Billy Drummond Smoke 8, 10 pm $30 êJack Wilkins/Bucky Pizzarelli Bella Luna 8 pm Miles’ Café 7, 8:30, 10 pm $19.99 • Samir Zarif Group; Ari Roland Group; George Colligan Group with Tom Guarna, • Cecilia Coleman Big Band; Alex Hoffman Quartet • Vitaly Golovnev Quartet Cleopatra’s Needle 8 pm Boris Kozlov, Rudy Royston; Stacy Dillard Trio with Diallo House, Ismail Lawal The Garage 7, 10:30 pm • María Mulata Terraza 7 7 pm $10-15 Smalls 4, 7:30, 10 pm 1 am $20 • Dorota Piotrowska Pier 45 6:30 pm • Tom Dempsey Trio with Ron Oswanski, Alvin Atkinson êPat Martino Quartet with John David Simon, Lucas Brown, Shawn Hill • Dona Carter Bryant Park 12:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 Jazz Standard 7:30, 9:30 pm $30 êFreddy Cole Quartet with Randy Napoleon, Elias Bailey, Curtis Boyd and guest êLouis Hayes Quintet Birdland 8:30, 11 pm $30 Wednesday, July 27 Harry Allen Jazz Standard 7:30, 9:30, 11:30 pm $30 ê Fred Hersch Trio with John Hébert, Eric McPherson êJazz in July - In His Own Sweet Way, Celebrating Dave Brubeck: Dick Oatts, êPaul Motian Septet with Chris Cheek, Bill McHenry, Steve Cardenas, Mat Maneri, Village Vanguard 9, 11 pm $25 Scott Wendholt, Chris Brubeck, Bill Charlap, Harvie S, Terry Clarke Jacob Sacks, Thomas Morgan Village Vanguard 9, 11 pm $25 • Earl Klugh Blue Note 8, 10:30 pm $35 92nd Street Y 8 pm $25-65 • Fourplay: Bob James, Nathan East, Chuck Loeb, Harvey Mason • Patrick Cornelius Band with Ben Williams, John Chin, Nate Smith, Ron Blake, • John Beasley Quintet with Antonio Hart, Rashawn Ross, James Genus, Blue Note 8, 10:30 pm $45 Nick Vayenas Blue Note 11:45 pm $10 Jeff “Tain” Watts Jazz Standard 7:30, 9:30 pm $20 êBill McHenry and guests Blue Note 12:30 am $10 • Tierney Sutton Band with Christian Jacob, Kevin Axt, Ralph Humphrey êOhad Talmor’s Newsreel with Shane Endsley, Jacob Sacks, Matt Pavolka, Dan Weiss • Leny Andrade Birdland 8:30, 11 pm $30 Dizzy’s Club 7:30, 9:30 pm $30 Barbès 8 pm $10 • Claudia Acuña Quintet with Marc Cary, Mark Kelley, Yayo Serka, Juancho Herrera • Robert Rodriguez Trio Dizzy’s Club 11 pm $15 • Jason Kao Hwang’s EDGE with Taylor Ho Bynum, Ken Filiano, Andrew Drury; Dizzy’s Club 7:30, 9:30 pm $30 • Spike Wilner The Bar on Fifth 8 pm Chris Forbes Quintet with Matt Lavelle, Will Connell, Francois Grillot, Bob Hubbard • John Benitez Group Dizzy’s Club 11 pm $15 • Marsha Heydt Quartet; Andrew Hadro Quartet University of the Streets 8, 10 pm $10 • 6 Seeds: Senri Oe and guests Tomi Jazz 9 pm $10 The Garage 12, 6:15 pm êJazzmobile: Danny Mixon Grant’s Tomb 7 pm • Ehud Asherie The Bar on Fifth 8 pm • Eszter Balint/Chris Cochrane; John Esposito with Jeff Marx, Jeff Siegel, Lara Steele • James Blood Ulmer Memphis Blood Blues with Vernon Reid Sunday, July 24 The Stone 8, 10 pm $10 World Financial Center 6 pm • The Four Freshmen Iridium 8, 10 pm $30 • Ehud Asherie Trio with David Wong, Jimmy Wormworth • Enoch Smith Jr. Trio; Joey Morant Trio êMark Murphy Birdland 9, 11 pm $30 The Kitano 8, 10 pm The Garage 6:15, 10:45 pm • Sean Moran’s Small Elephant with Reuben Radding, Chris Dingman, Mike McGinnis, êSIM Faculty Band Vol. I: Ralph Alessi, Matt Mitchell, , Tom Rainey • Dona Carter Bryant Park 12:30 pm Harris Eisenstadt Barbès 7 pm $10 Jazz Gallery 9, 10:30 pm $20 • Cocomama 600 Third Avenue 12:30 pm • Bobby Avey Quartet with Miguel Zenon, Thomson Kneeland, Jordan Perlson êJon Davis/Gianluca Renzi; Duane Eubanks Quartet with Abraham Burton, Marc Cary, Cornelia Street Café 8:30 pm $10 Dezron Douglas, Eric McPherson; Marc Devine Trio • Marion Cowings with Roman Ivanoff, Paul Newinski, Ai Murakami; Smalls 7:30, 9:30 pm 12:30 am $20 Dave Schnitter Quintet with Ugonna Okegwo, Spike Wilner, Anthony Pinciotti • Max Johnson Trio Brooklyn Lyceum 8, 9:30 pm Smalls 7:30, 10 pm $20 • Hashem Assadullahi’s Cadre with Rich Perry, Leonard Thompson, Yoshi Waki, • Jarrett Cherner; Contemporaneous Mark Ferber; Pascalito’s Quartet: Pascal Sabattier, Luiz Simas, Leco Reis, Javier Diaz The Stone 8, 10 pm $10 Miles’ Café 7, 8:30 pm $19.99 • Attention Screen: Don Fiorino, Bob Reina, Chris Jones, Mark Flynn; Alex Soreff, • Rafi D’lugoff; BJ Jansen; Ned Goold Jam Kay Benyarko, Peter Siuska ABC No Rio 7 pm $5 Fat Cat 7, 9 pm 12:30 am • Yard Byard: Jamie Baum, Adam Kolker, Jerome Harris, Ed and George Schuller • Marianne Solivan Flute Gramercy 8 pm MILES’ CAFE NYC Sycamore 8:30 pm $10 • Melanie Marod Trio Flute Bar 8 pm • Peter Leitch/Ugonna Okegwo Walker’s 8 pm • The Quiet Project: Ileana Santamaría/Chikako Iwahori July 12 / 7pm • Terry Waldo’s Gotham City Band; Darryl Yokley; Brandon Lewis/Renee Cruz Jam Terraza 7 9 pm Fat Cat 6, 9 pm 12:30 am • Trio Project; Adam Levy Caffe Vivaldi 7:15, 8:30 pm • Brian Murray Brooklyn Lyceum 9, 10:30 pm • Chris Massey’s Nue Jazz Trio Shrine 7 pm CORNELIA STREET CAFE • Alex Smith Organ Quartet; Hiromi Suda with Anne Drummond, Yasushi Nakamura; êPaul Motian Septet with Chris Cheek, Bill McHenry, Steve Cardenas, Mat Maneri, July 19 / 6pm Keita Ogawa Miles’ Café 7, 8:30 pm $19.99 Jacob Sacks, Thomas Morgan Village Vanguard 9, 11 pm $25 • Todd Neufeld with Mike LaValle, Billy Mintz • Fourplay: Bob James, Nathan East, Chuck Loeb, Harvey Mason ‘Moment in the MOMENT’ Trio Gallery One Twenty Eight 7 pm $10 Blue Note 8, 10:30 pm $45 Hendrik Meurkens, harmonica êPat Martino Quartet with John David Simon, Lucas Brown, Shawn Hill • Leny Andrade Birdland 8:30, 11 pm $30 Jazz Standard 7:30, 9:30 pm $30 • Claudia Acuña Quintet with Marc Cary, Mark Kelley, Yayo Serka, Juancho Herrera Yoshi Waki, bass êFred Hersch Trio with John Hébert, Eric McPherson Dizzy’s Club 7:30, 9:30 pm $30 Village Vanguard 9, 11 pm $25 • John Benitez Group Dizzy’s Club 11 pm $15 • Earl Klugh Blue Note 8, 10:30 pm $35 • 6 Seeds: Senri Oe and guests Tomi Jazz 9 pm $10 “...few are in Deborah Latz’s league...” • Tierney Sutton Band with Christian Jacob, Kevin Axt, Ralph Humphrey • Ehud Asherie The Bar on Fifth 8 pm — L.A. Jazz Scene Dizzy’s Club 7:30, 9:30 pm $30 • Ben Gillece; Big Beat 4tet The Garage 6, 10:30 pm • Spike Wilner The Bar on Fifth 8 pm • Dona Carter Bryant Park 12:30 pm • Ras Moshe, Kyoko Kitamura, Andrew Drury, Anders Nilsson • Roseanna Vitro/Mark Soskin Saint Peter’s 1 pm $7 "...Latz...may be one of the finest Downtown Music Gallery 6 pm • Art Baron Group Saint Peter’s 5 pm Thursday, July 28 balladeers in some time." • Paul Bollenback with Joseph Lepore, McClenty Hunter, Chris McNulty êFreddy Cole Quartet with Randy Napoleon, Elias Bailey, Curtis Boyd and guest — Jazz Society of Oregon Blue Note 12:30, 2:30 pm $24.50 Harry Allen Jazz Standard 7:30, 9:30 pm $25

• Roz Corral Trio North Square Lounge 12:30, 2 pm êJazz in July - Always, Irving Berlin: Sandy Stewart, Sachal Vasandani, Grant Stewart, Photo • Iris Ornig Quartet; David Coss and Trio; Ryan Anselmi Quintet Jeremy Pelt, Joe Locke, Bill Charlap, Renee Rosnes, Sean Smith, Lewis Nash www.deborahlatz.com ©Todd Weinstein The Garage 11:30 am 7, 11:30 pm 92nd Street Y 8 pm $25-65

THE NEW YORK CITY JAZZ RECORD | July 2011 39 Saturday, July 30 REGULAR ENGAGEMENTS êRalph Alessi, Kris Davis, Ingrid Laubrock, Tom Rainey MONDAYS Jazz Gallery 9, 10:30 pm $20 • Tom Abbott Big Bang Big Band Swing 46 8:30 pm êTim Berne Trio with Matt Mitchell, Dan Weiss • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am Cornelia Street Café 9, 10:30 pm $15 • Steve Coleman Presents The Jazz Gallery 9 pm $15 êWilliam Winant with Okkyung Lee, Zeena Parkins; Zeena Parkins • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm The Stone 8, 10 pm $10 • Pete Davenport/ Frank’s Cocktail Lounge 9 pm êJames Falzone’s Ground Quartet with Nate Wooley, Dominic Lash, Harris Eisenstadt • Eddy Davis New Orleans The Carlyle 8:45 pm $75-100 Café Orwell 9 pm • George Gee Swing Orchestra Gospel Uptown 8 pm • Jacam Manricks Trio with Gary Versace, Matt Wilson • Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE) Bar Next Door 7:30, 9:30, 11:30 pm $12 • Grove Street Stompers Arthur’s Tavern 7 pm • Brandon Ross; Rob Reddy’s All You Can Eat with John Carlson, Charlie Burnham, • Patience Higgins Sugar Hill Quartet Lenox Lounge 9:30 pm $10 Jef Lee Johnson, Jamie Saft, Dom Richards, Pheeroan akLaff • JFA Jazz Jam Local 802 7 pm Jalopy 9, 10:30 pm • Piers Lawrence Sprig 6:30 pm (ALSO FRI) • Michael Marcus Fat Cat 7 pm • Long Island City Jazz Alliance Jam Session Domaine 8 pm • Quentin Angus Quintet with Chad Lefkowitz-Brown, Youngjoo Song, Scott Colberg, • Roger Lent Trio Jam Cleopatra’s Needle 8 pm $10 Kyle Rowland Tutuma Social Club 7 pm • Iris Ornig Jam Session The Kitano 8 pm • Caleb Curtis/Chris Pattishall Duo; Yuki Shibata Trio with Yoshiki Yamada, Ryo Noritake; • Trio with guests Iridium 8, 10 pm $35 Frank Fontaine Quartet Miles’ Café 7, 8:30, 10 pm $19.99 • Ian Rapien’s Spectral Awakenings Jazz Groove Session Rhythm Splash 9 pm • La Cumbiamba Eneyé Terraza 7 10:30 pm • Stan Rubin All-Stars Charley O’s 8:30 pm • Rodney Siau Quartet Cleopatra’s Needle 8 pm • Smoke Big Band; John Farnsworth Quartet Smoke 7, 9, 10:30 pm • Mike Clark’s Indigo Blue with Wallace Roney, Donald Harrison, Rob Dixon, • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 Antonio Farao, Christian McBride Iridium 8, 10 pm $30 TUESDAYS • Ralph Lalama’s Bop Juice with David Wong, Clifford Barbaro; Logan Richardson • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU)) Group with Greg Osby, Sam Harris, Burniss Travis, Nasheet Waits; • Ben Allison Trio Kush 8 pm $10 Ian Hendrickson-Smith Group Smalls 7:30, 10 pm 1 am $20 • Evolution Series Jam Session Creole 9 pm • Danny Mixon Quartet Lenox Lounge 8:30, 10 pm $20 • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) • Javon Jackson Quartet with Joel Holmes, Corcoran Holt, McClenty Hunter • Joel Frahm Bar Next Door 8 pm $12 Smoke 8, 10 pm $30 • George Gee Swing Orchestra Swing 46 8:30 pm • Anat Cohen Quartet The Kitano 8, 10 pm $25 • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) êFreddy Cole Quartet with Randy Napoleon, Elias Bailey, Curtis Boyd and guest • Art Hirahara Trio Arturo’s 8 pm Harry Allen Jazz Standard 7:30, 9:30, 11:30 pm $30 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm êPaul Motian Septet with Chris Cheek, Bill McHenry, Steve Cardenas, Mat Maneri, • Sandy Jordan and Larry Luger Trio Notaro 8 pm Jacob Sacks, Thomas Morgan Village Vanguard 9, 11 pm $25 • Mike LeDonne Quartet; Dan Christensen Trio Smoke 7, 9, 10:30, 11:30 pm • Fourplay: Bob James, Nathan East, Chuck Loeb, Harvey Mason • Iris Ornig Quartet Crooked Knife 7 pm Blue Note 8, 10:30 pm $45 • Annie Ross The Metropolitan Room 9:30 pm $25 • Leny Andrade Birdland 8:30, 11 pm $30 • Robert Rucker Trio Jam Cleopatra’s Needle 8 pm $10 • Claudia Acuña Quintet with Marc Cary, Mark Kelley, Yayo Serka, Juancho Herrera • Dred Scott Trio Rockwood Music Hall 12 am Dizzy’s Club 7:30, 9:30 pm $30 • Slavic Soul Party Barbès 9 pm $10 • John Benitez Group Dizzy’s Club 11 pm $15 WEDNESDAYS • 6 Seeds: Senri Oe and guests Tomi Jazz 9 pm $10 • Melissa Aldana Trio Caffe Vivaldi 9:45 pm • Ehud Asherie The Bar on Fifth 8 pm • Astoria Waltz-Astoria 6 pm • Steven Bernstein’s Millenial Territory Orchestra with guests Henry Butler, • Bill Cantrall Trio 718 Restaurant 8:30 pm Dean Bowman, Sandra St. Victor; Hazmat Modine • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm World Financial Center 1 pm • Eve Cornelious; Sam Raderman Quartet Smoke 7, 9, 10:30, 11:30 pm • Jazzmobile Great Hill 2 pm • Walter Fischbacher Trio Water Street Restaurant 8 pm • John David Simon Trio; Michika Fukumori Trio; Akiko Tsuruga Trio • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm The Garage 12, 6:15, 10:45 pm • Jake K. Leckie Trio Kif Bistro 8 pm • Les Kurz Trio Cleopatra’s Needle 7 pm $10 Sunday, July 31 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • Guillaume Laurent Trio Bar Tabac 7 pm • Geri Allen and Timeline MoMA Sculpture Garden 7 pm • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) • Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Tyler Mitchell Quintet with • Nat Lucas Organ Trio Lenox Lounge 8 pm $3 Spike Wilner, Abraham Burton, Josh Evans, Eric McPherson • Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) Smalls 7:30, 10 pm $20 • Alex Obert’s Hollow Bones Via Della Pace 10 pm • Michele Gentile Trio with Masa Kamaguchi, Billy Mintz • David Ostwald’s Louis Armstrong Centennial Band Birdland 5 pm $10 Sycamore 8:30 pm $10 • Stan Rubin Big Band Swing 46 8:30 pm • Peter Leitch/Jed Levy Walker’s 8 pm • Bobby Sanábria Big Band FB Lounge 7:30, 9:30 pm $10 • Terry Waldo’s Gotham City Band; Alexi David; Brandon Lewis/Renee Cruz Jam • Alex Terrier Trio Antibes Bistro 7:30 pm Fat Cat 6, 9 pm 12:30 am • Vocal Wednesdays Zeb’s 8 pm • David Garland; Kenji Garland The Stone 8, 10 pm $10 • Justin Wert/Corcoran Holt Benoit 7 pm • Jocelyn Medina with Chris Ward, Hadar Noiberg, Nir Felder, Chris Tarry, Ziv Ravitz • Bill Wurtzel/Tony Decaprio American Folk Art Museum Lincoln Square 2 pm Cornelia Street Café 8:30 pm $10 • Jordan Young Group Bflat 8:30 pm • Pet Bottle Ningen; Nick Gianni’s Evolution; On Davis’ Famous Original Djuke Music THURSDAYS Players Nublu 9, 10 pm 12 am • Jason Campbell Trio Perk’s 8 pm • Simona Premazzi The Bar on Fifth 8 pm • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • Ted Chubb Brooklyn Lyceum 9, 10:30 pm • Curtis Brothers B. Smith’s 9 pm • Mike Clark’s Indigo Blue with Wallace Roney, Donald Harrison, Rob Dixon, • Aki Ishiguro Jam Session Solo Kitchen Bar 9 pm Antonio Farao, Christian McBride Iridium 8, 10 pm $30 • Jazz Vocal Workshop University of the Streets 8:30 pm $5 êFreddy Cole Quartet with Randy Napoleon, Elias Bailey, Curtis Boyd and guest • Gregory Porter; Jazz Meets HipHop Smoke 7, 9, 10:30, 11:30 pm Harry Allen Jazz Standard 7:30, 9:30 pm $25 • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) êPaul Motian Septet with Chris Cheek, Bill McHenry, Steve Cardenas, Mat Maneri, Jacob Sacks, Thomas Morgan Village Vanguard 9, 11 pm $25 FRIDAYS • Fourplay: Bob James, Nathan East, Chuck Loeb, Harvey Mason • Gabriel Alegria Afro-Peruvian Sextet Tutuma Social Club 8:30, 10:30 pm Blue Note 8, 10:30 pm $45 • Deep Pedestrian Sintir 8 pm • Claudia Acuña Quintet with Marc Cary, Mark Kelley, Yayo Serka, Juancho Herrera • Charles Downs’ Centipede The Complete Music Studio 7 pm Dizzy’s Club 7:30, 9:30 pm $30 • Ken Fowser Quintet Smoke 12:30 am • John Benitez Group Dizzy’s Club 11 pm $15 • George Gee Swing Orchestra Swing 46 9:30 pm ê • Greg Lewis Organ Trio Night of the Cookers 10 pm James Falzone solo Downtown Music Gallery 6 pm • Kengo Nakamura Trio Club A Steakhouse 11 pm • NJMH Afro-Cuban All Stars with Chocolate Armenteros, Johnny Rodriguez, • Open Jazz Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) Edy Martinez and guest Dave Valentin • Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) Grant’s Tomb 6:30 pm • Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) • Jamie Reynolds Trio Saint Peter’s 5 pm • Bill Saxton and Friends Bill’s Place 9, 11 pm $15 • Mordy Ferber Blue Note 12:30, 2:30 pm $24.50 • Roz Corral Trio North Square Lounge 12:30, 2 pm SATURDAYS • Klezmer Brunch: Michael Winograd • Jesse Elder/Greg RuggieroRothmann’s 6 pm City Winery 11 am $12 • Guillaume Laurent/Luke Franco Casaville 1 pm • Evan Schwam Quartet; David Coss and Trio; Jayna Morgan Trio • Johnny O’Neal Smoke 12:30 am The Garage 11:30 am 7, 11:30 pm • Wayne Roberts Duo City Crab 12 pm (ALSO SUN) • Freddie Bryant Brazilian Trio Smoke 11:30 am, 1, 2:30 pm • Skye Jazz Trio Jack 8:30 pm • Michelle Walker/Nick Russo Anyway Café 9 pm • Bill Wurtzel Duo Henry’s 12 pm SUNDAYS • Bill Cantrall Trio Crescent and Vine 8 pm • Barbara Carroll/Jay Leonhart Algonquin Oak Room 1 pm • Marc Devine Trio TGIFriday’s 6 pm • Noah Haidu Jam Cleopatra’s Needle 8 pm $19 • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Sean Fitzpatrick and Friends Ra Café 1 pm • Nancy Goudinaki’s Trio Kellari Taverna 12 pm • Enrico Granafei solo Sora Lella 7 pm • Lafayette Harris Lenox Lounge 7 pm $10 • Stan Killian Trio Ocean’s 8 8:30 pm • Bob Kindred Grouo Café Loup 12:30 pm • LICJA Family Jazz Concert Series Breadbox Café 1 pm • Lapis Luna Trio Bocca 7 pm • Alexander McCabe Trio CJ Cullens Tavern 5 pm • Junior Mance/Hide Tanaka Café Loup 6:30 pm • Peter Mazza Bar Next Door 8 pm $12 • Tony Middleton Trio The Kitano 11 am • Prime Directive; Jason Teborek Quartet Smoke 7, 9, 10:30, 11:30 pm • Johnny O’Neal Smalls 12:30 am $20 • Lu Reid Jam Session Shrine 4 pm • Rose Rusciani Alor 11 am • Rose Rutledge Trio Ardesia Wine Bar 6:30 pm • Annette St. John and Trio Smoke 11:30 am, 1, 2:30 pm • Secret Architecture Caffe Vivaldi 9:45 pm • Gabrielle Stravelli Trio The Village Trattoria 12:30 pm • Cidinho Teixeira Zinc Bar 10, 11:30 1 am • Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm • Brian Woodruff Jam Blackbird’s 9 pm

40 July 2011 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 101 Park Avenue Subway: 6 to 33rd Street • Creole 2167 3rd Avenue at 118th Street • Night of the Cookers 767 Fulton Street, Brooklyn • 600 Third Avenue Subway: 4, 5, 6, 7, S to Grand Central (212-876-8838) Subway: 6 th 116th Street creolenyc.com (718-797-1197) Subway: C to Lafayette Avenue • 5C Café 68 (212-477-5993) • Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street • Nightingale’s Lounge 213 2nd Avenue at 13th Street Subway: F to Second Avenue 5ccc.com (718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria Subway: L to 1st Avenue • 55Bar 55 Christopher Street (212-929-9883) • Crooked Knife 29 East 30th St between Madison and Park Avenue • Nino’s Tuscany 117 W. 58th Street (212-757-8630) Subway: 1 to Christopher Street 55bar.com (212-696-2593) Subway: 6 to 33rd Street thecrookedknife.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • 718 Restaurant 35-01 Ditmars Boulevard • Damrosch Park at Lincoln Center Broadway and 62nd Street ninostuscany.com (718-204-5553) Subway: N, Q to Ditmars 718restaurant.com Subway: 1 to 66th Street • North Square Lounge 103 Waverly Place at McDougal Street • 92nd Street Y Lexington Avenue at 92nd Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) (212-254-1200) Subway: A, B, C, E, F to West (212-415-5500) Subway: 6 to 96th Street 92y.org Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle jalc.org northsquarejazz.com • 92YTribeca 200 Hudson Street • Doma 17 Perry Street • Norwegian Seaman’s Church 317 East 52nd Street (between First (212-601-1000) Subway: 1, A, C, E to Canal Street 92y.org (212-929-4339) Subway: 1, 2, 3 to domanyc.com and Second Avenues) (212-319-0370) Subway: 4, 5, 6 to 51st Street • ABC No Rio 156 Rivington Street (212-254-3697) • Domaine Wine Bar 50-04 Vernon Boulevard • Notaro Second Avenue between 34th & 35th Streets (212-686-3400) Subway: J,M,Z to Delancey Street abcnorio.org Subway: 7 to Vernon Boulevard-Jackson Avenue Subway: 6 to 33rd Street • Algonquin Oak Room 59 W. 44th Street between 5th and 6th • Douglass Street Music Collective 295 Douglass Street • Nublu 62 Avenue C between 4th and 5th Streets (212-979-9925) Avenues (212-840-6800) Subway: B, D, F, M, 7 to 42nd Street Subway: R to Union Street myspace.com/295douglass Subway: F to Second Avenue nublu.net • American Folk Art Museum 45 W 53rd Street (212-265-1040) • Downtown Music Gallery 13 Monroe Street (212-473-0043) • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C Subway: E to 53rd Street folkartmuseum.org Subway: F to East Broadway downtownmusicgallery.com (212-505-8183) Subway: F, V to Second Avenue nuyorican.org • Annunciation Park Amsterdam Ave. and W. 134th Street • Drom 85 (212-777-1157) • Ocean’s 8 at Brownstone Billiards 308 Flatbush Avenue Subway: 1 to 137th Street Subway: F to Second Avenue dromnyc.com (718-857-5555) Subway: B, Q to Seventh Avenue • Antibes Bistro 112 Suffolk Street • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Opia Restaurant 130 E. 57th Street (212-688-3939) (212-533-6088) Subway: J, Z to Essex Street antibesbistro.com Subway: C, E to Spring Street Subway: 4, 5, 6 to 59th Street opiarestaurant.com • Antique Garage 41 Mercer Street (212-219-1019) • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Orchard Beach Stage Subway: 6 to Pelham Bay Park then BX29 Subway: N, Q, R, W to Canal Street Subway: 1 to Christopher Street/Sheridan Square fatcatmusic.org • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and • Anyway Café 34 E. 2nd Street (212-533-3412) • Feinstein’s 540 Park Avenue (212-339-4095) 160th Streets (212-781-6595) Subway: C to 155th Street Subway: F to Second Avenue Subway: 4, 5, 6 to 59th Street feinsteinsattheregency.com parlorentertainment.com • Ardesia Wine Bar 510 West 52nd Street • Flute Bar 205 W. 54th St.between 7th Avenue and Broadway • Pier 45 Subway: 1 to Chistopher Street (212-247-9191) Subway: C to 50th Street ardesia-ny.com (212-265-5169) Subway: B, D, E to 7th Avenue • Riverbank State Park 679 Riverside Drive at 145th Street • Arthur’s Tavern 57 Grove Street (212-675-6879) • Flute Bar Gramercy 40 E. 20th Street Subway: A, C, 1 to 145th Street Subway: 1 to Christopher Street arthurstavernnyc.com (212-529-7870) Subway: 6 to 23rd Street • Rhythm Splash 673 Flatbush Avenue • Arturo’s 106 W. (at Thompson Street) • For My Sweet Restaurant 1103 Fulton Street Subway: B, Q to Parkside Avenue (212-677-3820) Subway: A, B, C, D, E, F to W. 4th Street (718-857-1427) Subway: A, C, S to Franklin Avenue • Rockwood Music Hall 196 Allen Street (212-477-4155) • B. Smith’s 320 West 46th Street • Fort Greene Park Myrtle Avenue at Cumberland Street Subway: F to Second Avenue rockwoodmusichall.com (212-315-1100) Subway: A, C, E, to 42nd Street bsmith.com • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn • Rose Theater Broadway at 60th Street, 5th floor (212-258-9800) • BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn (718-625-9339) Subway: G to Fulton Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle jalc.org (718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5 • Gallery One Twenty Eight 128 Rivington Street #1 (212-674-0244) • Rubin Museum 150 West 17th Street (212-620-5000) to Atlantic Avenue bam.org Subway: F to Second Avenue galleryonetwentyeight.org Subway: A, C, E to 14th Street rmanyc.org • Bflat 277 Church Street (between Franklin and White Streets) • The Garage 99 Seventh Avenue South (212-645-0600) • Saint Peter’s Church 619 Lexington Avenue at 54th Street Subway: 1, 2 to Franklin Streets Subway: 1 to Christopher Street garagerest.com (212-935-2200) Subway: 6 to 51st Street saintpeters.org • The Backroom 485 Dean Street at Sixth Avenue, Brooklyn • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) • Sans Souci 330 Myrtle Avenue (347-227-8135) Subway: 1, 2 to Bergen Street (718-622-7035) Subway: J, M train to Myrtle Avenue goodbye-blue-monday.com Subway: B, D, N, R, Q to DeKalb Avenue • Bar Next Door 129 MacDougal Street (212-529-5945) • Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard • Settepani 196 Lenox Avenue at 120th Street Subway: A, C, E, F to W. 4th Street lalanternacaffe.com (212-280-2110) Subway: A, B, C, D to 125th Street (917-492-4806) Subway: 2, 3 to 116th Street settepani.com • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) gospeluptown.com • Seeds 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza Subway: F to 7th Avenue barbesbrooklyn.com • Grant’s Tomb 122nd Street and Riverside Drive • Showman’s 375 West 125th Street at Morningside) (212-864-8941) • Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street Subway: 1 to 125th Street Subway: 1 to 125th Street • Benoit 60 W. 55th Street • Great Hill Subway: B, C to 103rd Street • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: F to 57th Street, N, Q, R,W to 57th Street • Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street Subway: B, 2, 3 to 135th Street shrinenyc.com • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Hiro Ballroom 88 9th Avenue • Sintir 424 E. 9th Street between Avenue A and (212-281-0777) Subway: 2, 3 to 125th Street (212-727-0212) Subway: A, C, E to 14th Street hiroballroom.com (212-477-4333) Subway: 6 to • Birdland 315 W. 44th Street (212-581-3080) • I-Beam 168 7th Street between Second and Third Avenues • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: A, C, E, to 42nd Street birdlandjazz.com Subway: F to 4th Avenue ibeambrooklyn.com Subway: 1,2,3,9 to 14th Street smallsjazzclub.com • Blackbird’s 41-19 30th Avenue (718-943-6898) • Iridium 1650 Broadway at 51st Street (212-582-2121) • Smoke 2751 Broadway between 105th and 106th Streets Subway: R to Steinway Street blackbirdsbar.com Subway: 1,2 to 50th Street theiridium.com (212-864-6662) Subway: 1 to 103rd Street smokejazz.com • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Issue Project Room 232 Third Street (at the corner Third Avenue) • Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street Subway: A, B, C, D, E, F to W. 4th Street bluenotejazz.com Subway: M to Union Street issueprojectroom.org • Solo Kitchen Bar 1502 Cortelyou Road (between E 16th and • Bocca 39 East 19th Street (212-387-1200) • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street Marlborough Road) (718-826-0951) Subway: Q to Cortelyou Road Subway: 4, 5, 6, L, N, R, Q, W to Union Square • Jalopy 315 Columbia Street, Brooklyn • Sora Lella 300 Spring Street • Poetry Club 308 Bowery (212-614-0505) (718-395-3214) Subway: F to Smith Street jalopy.biz (212-366-4749) Subway: C, E to Spring Street soralellanyc.com Subway: 6 to bowerypoetry.com • Jazz 966 966 Fulton Street (718-638-6910) • South Street Seaport Subway: 2, 3, 4, 5, J, Z, M to Fulton Street; • Breadbox Café 47-11 11 Street (718-389-9700) Subway: C to Clinton Street illbrew.com/Jazz966.htm A, C to Broadway-Nassau Subway: 7 to Vernon Boulevard-Jackson Avenue • The Bar on Fifth 400 Fifth Avenue • Sprig 885 3rd Avenue Subway: E, M to 53rd Street breadboxcafelic.com (212-695-4005) Subway: 6 to 33rd Street jazzbaronfifth.com • The Stone Avenue C and 2nd Street • Brecht Forum 451 West Street (212-242-4201) • The Jazz Gallery 290 Hudson Street (212-242-1063) Subway: F to Second Avenue thestonenyc.com Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street brechtforum.org Subway: C, E, to Spring Street jazzgallery.org • Swing 46 349 W. 46th Street (646-322-4051) • Brooklyn Conservatory of Music 58 Seventh Avenue • Jazz Museum in Harlem 104 E.126th Street between Park and Subway: A, C, E to 42nd Street swing46.com Subway: F to Seventh Avenue, N, R to Union Street bqcm.org Lexington Avenues (212-348-8300) Subway: 6 to 125th Street • Sycamore 1118 Cortelyou Road (347-240-5850) • Brooklyn Lyceum 227 4th Avenue (718-857-4816) jazzmuseuminharlem.org Subway: B, Q to to Cortelyou Road sycamorebrooklyn.com Subway: R to Union Street brooklynlyceum.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Symphony Space Leonard Nimoy Thalia 2537 Broadway • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets (212-576-2232) Subway: 6 to 28th Street jazzstandard.net (212-864-5400) Subway: 1, 2, 3 to 96th Street symphonyspace.org Subway: 4, 5, 6 to 42nd Street • Joe G’s 244 West 56th Street (212-765-3160) • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) • Buona Sera 12th Street and University Place Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: N, R to Union Street tealoungeNY.com Subway: 4, 5, 6, L, N, R, Q, W to Union Square • Joe’s Pub 425 Lafayette Street (212-539-8770) • Terraza 7 40-19 Gleane Street, Queens • CJ Cullens Tavern 4340 White Plains Road, Bronx Subway: N, R to 8th Street-NYU; 6 to Astor Place joespub.com (718-803-9602) Subway: 7 to 82 Street-Jackson Heights Subway: 2 to Nereid Avenue/238th Street • Kellari Taverna 19 West 44th Street (212-221-0144) terrazacafe.com • Café Carlyle 35 East 76th Street (212-744-1600) Subway: B, D, F, M, 7 to 42nd Street-Bryant Park kellari.us • Thalia Café 2537 Broadway at 95th Street Subway: 6 to 77th Street thecarlyle.com • The Kitano 66 Park Avenue at 38th Street (212-885-7000) (212-864-5400) Subway: 1, 2, 3, 9 to 96th Street • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues Subway: 4, 5, 6 to Grand Central kitano.com symphonyspace.org (212-255-4746) Subway: F to 14th Street • Knickerbocker Bar & Grill 33 University Place (212-228-8490) • Tomi Jazz 239 E. 53rd Street (646-497-1254) • Café Orwell 247 Varet Street Subway: N, R to 8th Street-NYU knickerbockerbarandgrill.com Subway: 6 to 51st Street tomijazz.com (347-294-4759) Subway: L to Morgan Avenue • Korzo 667 5th Avenue, Brooklyn (718-285-9425) • Tribes Gallery 285 E. 3rd Street • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets Subway: R to Prospect Avenue eurotripbrooklyn.com/info.html (212-674-8262) Subway: F, V to Second Avenue tribes.org Subway: A, B, C, D, E, F, Q to W. 4th Street-Washington Square • Kush 191 Chrystie Street • Tutuma Social Club 164 East 56th Street 646-300-0305 • Casaville 633 Second Avenue (212-677-7328) Subway: F to Second Avenue thekushnyc.com Subway: 4, 5, 6 to 59th Street TutumaSocialClub.com (212-685-8558) Subway: 6 to 33rd Street casavillenyc.com • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • University of the Streets 130 East 7th Street (212-254-9300) • Central Park Summerstage, Rumsey Playfield 72nd Street Subway: A, B, C, D, E, F to W. 4th Street lepoissonrouge.com Subway: 6 to Astor Place universityofthestreets.org and Fifth Avenue (212-36O-2777) Subway: B, D to 72nd Street • Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets • Via Della Pace 48 East 7th Street and Second Avenue summerstage.org (212-427-0253) Subway: 2, 3 to 125th Street lenoxlounge.com (212-253-5803) Subway: 6 to Astor Place • Chanddayan Center 4 West 43rd Street and Fifth Avenue • The Local 269 269 East Houston Street at Suffolk Street • The Village Trattoria 135 West 3rd Street (212-598-0011) Subway: 7 to Fifth Avenue Subway: F to Second Avenue rucma.org Subway: A, B, C, D, E, F to W. 4th Street thevillagetrattoria.com • Charley O’s 1611 Broadway at 49th Street (212-246-1960) • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Village Vanguard 178 Seventh Avenue South at 11th Street Subway: N, R, W to 49th Street (212-245-4802) Subway: C to 50th Street jazzfoundation.org (212-255-4037) Subway: 1, 2, 3 to 14th Street • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) villagevanguard.com Subway: C to Clinton-Washington Avenues bistrolola.com Subway: 1 to 145th Street londelsrestaurant.com • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • MoMA Sculpture Garden 11 West 53rd Street (212-708-9400) (718-721-3010) Subway: N to Ditmars Blvd-Astoria Subway: C to Lafayette Avenue chezoskar.com Subway: E, V train to Fifth Avenue/53rd Street moma.org • Walker’s 16 North Moore Street (212-941-0142) • Citigroup Center Plaza 53rd Street and Lexington Avenue • Madison Square Park 5th Avenue and 23rd Street Subway: A, C, E to Canal Street Subway: 6 to 51st Street Subway: R, W to 23rd Street • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • City Winery 155 Varick Street • Marcus Garvey Park 120th Street between Mt. Morris Park and Subway: N, R to Ditmars Blvd-Astoria Waltz-Astoria.com (212-608-0555) Subway: 1 to Houston Street citywinery.com Madison Avenue (212-201-PARK) • Water Street Restaurant 66 Water Street (718-625-9352) • Clemente Soto Velez Cultural Center 107 Suffolk Street Subway: 2, 3, 4, 5, 6 to 125th Street Subway: F to York Street, A, C to High Street Subway: F, J, M, Z to Delancey Street csvcenter.com • Metropolitan Room 34 West 22nd Street (212-206-0440) • The Waterfront Museum Brooklyn Bridge Park, Pier 6 • Cleopatra’s Needle 2485 Broadway (212-769-6969) Subway: N, R to 23rd Street metropolitanroom.com Furman Street and Atlantic Avenue Subway: F, G to Bergen Street Subway: 1, 2, 3 to 96th Street cleopatrasneedleny.com • Metrotech Commons corner of Flatbush and Myrtle Avenues • Williamsburg Music Center 367 Bedford Avenue • Club A Steakhouse 240 E. 58th Street (212-618-4190) (718-488-8200) Subway: A, C, F to Jay Street/Borough Hall (718-384-1654) Subway: L to Bedford Avenue Subway: 4, 5, 6 to 59th Street clubasteak.com • Michiko Studios 149 West 46th Street, 3rd Floor • World Financial Center Subway: E to World Trade Center • Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue (212-302-4011) Subway: B, D, F, M to 47-50 Streets worldfinancialcenter.com • The Complete Music Studio 227 Saint Marks Avenue, Brooklyn michikostudios.com • Zeb’s 223 W. 28th Street Subway: 1 to 28th Street (718-857-3175) Subway: B, Q to Seventh Avenue • Miles’ Café 212 E. 52nd Street, 3rd floor (between Second and • Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934) completemusic.com Third Avenues) (212-371-7657) Subway: 6 to 51st Street; E to Subway: L to Bedford Avenue zebuloncafeconcert.com • Cornelia Street Café 29 Cornelia Street (212-989-9319) 53rd Street MilesCafe.com • Zinc Bar 82 West 3rd Street (212-477-8337) Subway: A, C, E, F, Subway: A, B, C, D, E, F to W. 4th Street • NYC Baha’i Center 53 E. 11th Street (212-222-5159) Grand Street Shuttle to W. 4th Street zincbar.com corneliastreetcafé.com Subway: 4, 5, 6, N, R to 14th Street-Union Square bahainyc.org

THE NEW YORK CITY JAZZ RECORD | July 2011 41 (VICTO CONTINUED FROM PAGE 13) and-all drumming. innovations, then tenor saxophonist Jon Irabagon is an Pianist Matthew Shipp invited saxophonist Evan accelerated variant of Coleman’s imaginative acoustically (Brötzmann explained that he didn’t Parker, another elder statesman of the European free improvising. Seemingly never stopping for breath, usually work so early in the day), the set was a series scene, to join him in a sparkling extemporized duet, Irabagon played 45 minutes of freebop based on Harry of ballads, including “I Surrender Dear” and “’Round which included a burst of the Englishman’s magical Ruby-Bert Kalmar’s “Three Little Words”, studded Midnight” - not necessarily what one would expect, self-devouring soprano saxophone and a brief quote with split-second quotes from pop and jazz standards. showing a lyrical side that is not often associated with from Monk’s “Shuffle Boil”, amid the pianist’s Encompassing techniques ranging from foghorn the reedman. Individually and collectively, these were thunderous chording, insistent motifs and glinting growls and serene trills, he never lost his way, two absolutely fascinating and spellbinding flurries pawed from the extremes of the keyboard. frequently cycling back to the head and at points experiences by the 70-year-old master. Under the moniker All Star Mystery Collective, a seemed to be playing two disparate reed parts by In another compelling set, Richard Pinhas, constellation of Vision Fest mainstays delivered in himself. Ample space was left as well for bassist Peter Merzbow and Wolf Eyes gave a beautifully detailed style with a freewheeling set studded with bravura Brendler’s string-slaps or below-the-bridge strums and precise performance that was symphonic in scale, solos from Rob Brown, Roy Campbell and Cooper- plus drummer ’s pinpointed bass drum electronic chattering stabs of processed sax, guitar and Moore among others, raucous ensembles and rugged bashes that fuelled a steady backbeat. vocals undulating and building to a brutal and, at group empathy, accompanied by the dancing and Anyone missing a piano sound could turn to a times, painful intensity, foreboding dark tension of occasional vocals of organizer Patricia Parker. Their hushed and methodical solo set from Abdullah fluttering engine throbs, shrieking feedback and final number encapsulated much of what is best about Ibrahim. Playing mostly medium tempos, Ibrahim screeching sheet metal tearing at the edge of the abyss the Vision Festival, moving seamlessly from a joyful applied variants of touch and texture to his playing, at - a highlight of the weekend. celebratory bounce into atonality and back again, junctures appending a slow, rocking beat to methodical eRikm and FM Einheit continued the emerging recalling New Orleans polyphony. chording. His pastoral output was only traded for theme of macho music, with a performance quite Collective Dawn of Midi was an ear-opener for ringing notes during an encore when torrential rain hit unlike any seen at Victo, with the former on turntables many, compelling in their movement from almost the tent. and the latter, percussionist for Einsturzende subliminal stirrings to a timeless mesmerizing groove Younger bands which impressed included The Neubauten, on a variety of percussion instruments that evoking sunrise over the souk, with pianist Amino Ambush Party (TAP) from the and included a large coil spring, a Makita drill, stones and Belyamani’s minimally evolving patterns and piano Germany’s Tørn. Following Germany’s bombastic The bricks on a metal table. The pair produced primitive preparations pitched against the throbbing bass of Dorf, a 25-piece ensemble that combined vamping rock factory sounds and heavily distorted fast grooves with Aakaash Israni and the unpredictable outbursts of rhythms with sustained, climactic lines from a pounding crescendos and sudden stops in a set that percussionist Qasim Naqvi. Another pianist, Connie multiplicity of soloists, Tørn carved out a program of felt like an analog version of the Merzbow performance Crothers, led from the front, taking her quartet from spiky chamber-improv. Although clarinetist Joris but in set pieces rather than symphonic movements. cool swing to fiery communion, with saxophonist Rühl’s pitch was strident and staccato, his squeezed There was a performative aspect, especially from the Richard Tabnik’s physical contortions mirroring his timbres harmonized perfectly with pianist Philip squat, powerful Einheit, with his demolition worker slippery lines and bassist Ken Filiano always eloquent Zoubek’s tremolo runs, key clanking and string- air, a shock of white hair hanging over his forehead, and inventive. stopping. Bassist Achim Tang’s matchless technique dust flying as he smashed bricks in a 40-minute set that Honorable mentions go to the muscular Blood Trio supplied the melding ostinato, as drummer Joe was cogent and to the point. (Sabir Mateen, Michael Bisio and Whit Dickey) who Hertenstein’s rim shots and hi-hat slaps broke up the Zeena Parkins’ set with her new group, The opened proceedings; saxophonists John Tchicai’s rhythm while keeping it free-flowing. Adorables, the early Saturday show, was a departure Ascension Unending (featuring one masterful solo TAP’s pianist Oscar Jan Hoogland didn’t stint on from Friday night’s heaviness. This was not exactly a from the leader), Tony Malaby’s unrelenting Tamarindo internal string strumming and mallet-pummeling premiere, but the trio played a set of compositions for and ’s vibrant quintet; trumpeters Stephen either, but these New Music echoes were only part of the first time, so in a way, it was. The music was Haynes’ sonic explorations with Parrhesia, Tomasz the band’s game plan. Improvising collectively, TAP sometimes delicate, sometimes fast and funky, but Stanko’s quartet of Sylvie Courvoisier, galloped among references to trance, , always nuanced with an eye for detail and very, very and adding welcome grit to the oyster, klezmer, free jazz, tango and even operatic music, with beautiful, probably the biggest surprise of a festival ’s irrepressible updating of King Oliver and vocalized gurgles from cellist Harald Austbø, whose that was rich in fascinating performances but light on Peter Evans’ Pulverize the Sound with drummer Mike theatrical sawing on cello suggested a familiarity with surprises. Pride and electric bassist doing exactly that, the Three Stooges as much as so-called classical Any performance by Anthony Braxton is highly dividing the audience in the process; drummer Tomas chamber music. Meanwhile Natalio Sued exposed flat- anticipated and the North American premiere of “Echo Fujiwara’s incendiary The Hook Up and trombonist line clarinet variants and slurping tenor saxophone Echo Mirror House” was not an exception, though the Reut Regev’s rollicking R*time spotlighting guest runs and drummer Marcos Baggiani’s steady beats in results of seven musicians (Braxton, Taylor Ho Bynum, pianist . tandem with Austbø’s stentorian strokes focused the Mary Halvorson, Jessica Pavone, Jay Rozen, Aaron Recently passed violinist received material. Siegel, Carl Testa) playing a combination of regular several dedications during the Festival but none was Other performances included influences as instruments and iPods loaded with Braxton solos was more heartfelt or moving than that at the absolute end. disparate as naïve pop, R&B, grindcore, hiphop, extremely dense, requiring great concentration, almost Tributes can have the tendency to be maudlin or electronica and ethnic music. The most appealing too much to absorb at once. This performance will inconsequential, but under the direction of William maintained a connection to jazz like trumpeter Igmar most likely be released on the Victo label and should Parker the massed might of a 20-piece string section, Thomas’ The Cypher with powerful soloing from benefit from repeated close listening. the violinist’s former band and additional horns gave a saxophonist Marcus Strickland and keyboardist David Other performances of note were those by soulful extended rendition of Bang’s “Mystery of the Bryant or existed in their own sphere like the - Montreal’s Ratchet Orchestra, Jaap Blonk, Nels Cline Mekong”, followed by a spirited version of “Saigon meets-soul spectacle of Nigerian singer/saxophonist and Norton Wisdom and 7K Oaks, whose set might Funk”, which interpolated a wild orgiastic blow-out Seun Kuti, incorporating multiple percussionists and have been the best of the festival had they stopped 20 appropriately named “Ascension for Billy Bang”, horns plus lightly-clad backup singer/dancers. minutes earlier than they finally did. concluding with Parker strutting his stuff against a ’s Double Trio from Japan, which It did feel like the old spirit of Victo was back and juddering slab of funk for a rousing and emotional matched her shrill vocals and vigorous plucks on there were many smiles and few complaints on the finale that made this writer long for next year’s offering 17-string and 21-string kotos with contributions from weekend, both from audience members and the festival already. v drummers Tamaya Honda and Nori Tanaka plus organization. v bassists Todd Nicholson and Takashi Sugawa, created For more information, visit visionfestival.org an East-West fusion. Her enormous instruments For more information, visit victo.qc.ca reproduced timbres that resembled 12-string guitar strums one minute and electric guitar licks the next, contrapuntally interfaced with Nicholson’s supple, (MOERS CONTINUED FROM PAGE 13) melodic plucks and Sugawa’s abrasive friction or (VISION CONTINUED FROM PAGE 13) thickening the drumbeats. The results were abrasive, underlined with feedback loops, Gibbs reinforced the discordant, melodic, harmonic and wholly original. running to several pages that nonetheless captured the rhythm while utilizing buzzing reverb during solos. Unique performances such as Yagi’s, plus the spontaneity of improvisation and incorporated Instructively, much of Reid’s evocative lead guitar exposure given to younger bands, as well as fantastic contrasts between the combustive and the work was based on slide guitar styling as traditional as celebrations of masters such as Coleman, demonstrate ordered. Saxophonist Laubrock’s timbral investigations T-Bone Walker’s. The three were as rooted in the blues how Moers has managed to thrive for four decades. v were particularly wonderful, with a skronk explosion as Coleman. near the end on soprano atop Sorey’s kitchen-sink- If Encryption literally amplified Coleman’s For more information, visit moers-festival.de

42 July 2011 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM By Andrey Henkin BILL BARDIN - The trombonist was the last surviving member of Lu Watters’ Yerba Buena MICHAEL RIDLEY - During the ‘70s, Ridley’s career as a trumpeter found him traversing the Jazz Band, a notable Dixieland revival band in the ‘30s-40s. A mainstay in the traditional San soul and Motown scenes with , Wilson Pickett, and Stevie Wonder at Francisco jazz scene through the ‘50s, Bardin died May 21st at 86. the same time he was working with jazz greats like Cal Massey, , Jimmy McGriff, Archie Shepp and Clifford Thornton. Ridley died May 8th at 72. - Uncle to the famed Eubanks jazz clan, the pianist was one of jazz’ most accomplished players since the mid ‘50s, working with Miles Davis, Tito Puente, Arts Blakey - Rubin’s highest-profile gig was as part of the Band, and Taylor, Dizzy Gillespie, and many others. He also was a regular leader, leading to a spot in Band in the film of the same name. But the trumpeter releasing dozens of albums in mostly trio and solo formats. Bryant, whose older brother also worked with Ellington, Randy Weston and several CTI album big bands. Rubin died Jun. Tommy was also a respected jazz musician, died Jun. 2nd at 79. 8th at 68.

EDDIE MORDUE - Music lovers of many genres may have heard the work of the British tenor GIL SCOTT-HERON - His spoken word and jazz poetry helped inspire modern hiphop. He saxophonist. He came out of big bands after World War II and played behind American singers used jazz musicians on albums like Small Talk at 125th and Lenox and Pieces of a Man. His later like Frank Sinatra and before finding extensive work in rock and on soundtracks career was derailed by drug problems but Scott-Heron did release an album recalling his to the Pink Panther and James Bond films. Mordue died Jan. 26th at 83. previous successes, I’m New Here (XL Recordings), in 2010. Scott-Heron died May 27th at 62. BIRTHDAYS July 1 July 7 July 11 July 17 July 22 July 26 †Earle Warren 1914-95 †Tiny Grimes 1916-89 †Clyde Bernhardt 1905-86 †George Barnes 1921-77 †Paul Moer 1916-2010 †Gus Aiken 1902-1973 †Rashied Ali 1935-2009 †Frank Rehak 1926-87 Henry Lowther b.1941 †Mary Osborne 1921-92 †Lou McGarity 1917-71 †Erskine Hawkins 1914-93 Ndugu (Chancler) b.1952 b.1927 Tomasz Stanko b.1942 †Ray Copeland 1926-84 † 1924-82 †Louie Bellson 1924-2009 Erik Friedlander b.1960 † 1930-86 Travis Sullivan b.1971 † 1928-76 †Bill Perkins 1924-2003 Charli Persip b.1929 †Joe Zawinul 1932-2007 Will Vinson b.1977 †Joe Morello 1928-2011 †Keter Betts 1928-2005 JoAnne Brackeen b.1938 July 2 Sue Evans b.1951 Ben Riley b.1933 † 1934-92 Natsuki Tamura b.1951 †Jack Hylton 1892-1965 Michael Henderson b.1951 July 12 †Nick Brignola 1936-2002 Johannes Bauer b.1954 Richard Wyands b.1928 JA Granelli b.1966 †Will Bradley 1912-89 Chico Freeman b.1949 Al DiMeola b.1954 July 27 Ahmad Jamal b.1930 Orlando Le Fleming b.1976 †Sam “The Man” Taylor †Charlie Queener 1923-97 †William Fielder 1938-2009 1916-90 July 18 July 23 Charlie Shoemake b.1937 Mike Abene b.1942 July 8 †Rusty Dedrick 1918-2009 †Ray McKinley 1910-95 †Emmett Berry 1915-93 Carl Grubbs b.1944 Gary Dial b.1954 †J Russel Robinson 1892-1963 † 1920-74 † 1917-88 †Johnny Hartman 1923-83 Joel Harrison b.1957 July 23rd, 1946 †Bill Challis 1904-94 †Conte Condoli 1927-2001 Don Bagley b.1927 †Claude Luter 1923-2006 Jean Toussaint b.1960 July 3 †Louis Jordan 1908-75 †Big John Patton 1935-2002 † 1928-2003 Bill Lee b.1928 †Jerry Gray 1915-76 †Johnny Mince 1912-97 †Jean-Francois Jenny-Clark †Buschi Niebergall 1938-~80s †Richie Kamuca 1930-77 July 28 Though the vibraphone has † 1926-96 †Billy Eckstine 1914-93 1944-98 †Dudu Pukwana 1938-90 †Steve Lacy 1934-2004 †Corky Corcoran 1924-79 been a solid participant in Ronnell Bright b.1930 †Ken Hanna 1921-82 Ken Thompson b.1976 William Hooker b.1946 Daoud-David Williams b.1943 Jim Galloway b.1936 jazz for decades, the avant †Ron Collier 1930-2003 Roy Babbington b.1940 Ron Caswell b.1977 Theo Croker b.1985 Khan Jamal b.1946 Nnenna Freelon b. 1954 garde world has had few Pete Fountain b.1930 Sakari Kukko b.1953 Loren Schoenberg b.1958 Delfeayo Marsalis b.1965 practitioners on the Rhoda Scott b.1938 Russ Johnson b.1965 July 13 July 19 Achille Succi b.1971 instrument. Florida native Dr. Lonnie Smith b.1942 Kendrick Scott b.1980 †George Lewis 1900-68 †Buster Bailey 1902-67 July 29 but longtime Pennsylvania John Klemmer b.1946 Tyshawn Sorey b.1980 Bengt-Arne Wallin b.1926 †Cliff Jackson 1902-70 July 24 † 1900-64 resident Khan Jamal (who † 1928-99 †Charlie Teagarden 1913-84 † 1909-84 †Charlie Christian 1916-42 also plays marimba) started July 4 July 9 †Albert Ayler 1936-70 b.1934 †Billy Taylor 1921-2010 † 1945-2008 on vibes during the height of Aaron Sachs b.1923 †Joe Darensbourg 1906-85 †Earl Grubbs 1942-89 †Carmell Jones 1936-96 Ronnie Lang b.1927 the then-nascent New Thing. Conrad Bauer b.1943 †June Richmond 1915-62 George Lewis b.1952 Didier Levallet b.1944 Finn Savery b.1933 July 30 He played in the bands of Butch Miles b.1944 †Duke Burrell 1920-93 †Rudy Collins 1934-88 †Hilton Jefferson 1903-68 saxist and Fred Wesley b.1943 †Alex Welsh 1929-82 July 14 July 20 Mike Mainieri b.1938 †Roy Porter 1923-98 later drummer Sunny †Frank Wright 1935-90 †Billy Kyle 1914-66 †Bill Dillard 1911-95 Charles McPherson b.1939 †Frank Smith 1927-74 July 5 †Alan Dawson 1929-96 †Joachim Ernst Berendt Jon Faddis b.1953 †Vernell Fournier 1928-2000 Murray. Appearances during †Ray Biondi 1905-81 July 10 1922-2000 Barry Romberg b.1959 b.1937 the ‘80s and ‘90s came in the †Bruce Turner 1922-93 †Noble Sissle 1889-1975 July 15 †Ernie Wilkins 1922-99 James Zollar b.1959 Hal Smith b.1953 groups of Billy Bang and Billy Jenkins b.1956 †Ivie Anderson 1905-49 † 1923-85 Peter Ind b.1928 Kevin Mahogany b.1958 , as well as Sha b.1983 †Cootie Williams 1910-85 †Joe Harriott 1928-73 † 1941-82 July 25 his first albums as a leader on †Milt Buckner 1915-77 Henry Warner b.1940 Samuel Blaser b.1981 †Johnny Wiggs 1899-1977 July 31 SteepleChase. Since then July 6 † 1916-94 Rodrigo Amado b.1964 † 1907-70 †Hank Jones 1918-2010 Jamal continues to work †Parke Frankenfield 1929-2005 †Major Holley 1924-90 July 21 Jef Gilson b.1926 †Ahmet Ertegun 1923-2006 steadily with era brethren †Betty Smith 1929-2011 Buddy Clark b.1929 July 16 b.1930 †Don Ellis 1934-78 †Bjarne Nerem 1923-91 and returned to SteepleChase Chris White b.1936 †Arnie Lawrence 1938-2005 † 1909-94 †Sonny Clark 1931-63 Günter Lenz b.1938 Kenny Burrell b.1931 in 2008 with Impressions of Klaus Kugel b.1959 †Lee Morgan 1938-72 † 1925-82 b.1931 Brian Blade b.1970 Mike Wolff b.1952 Coltrane. -AH Torben Waldorff b.1963 Brian Priestley b.1946 Bobby Previte b.1957 Scott Wendholt b.1965 Mike DiRubbo b.1970 b.1959 ON THIS DAY by Andrey Henkin

The Soft Swing Spiritsville Meditations Live at the Firestorm Stan Getz (Verve) (Jazzland) Mal Waldron (Victor) Freddie Hubbard (Pablo) Diedre Murray/Fred Hopkins (Victo) July 12th, 1957 July 12th, 1960 July 12th, 1972 July 12th, 1980 July 12th, 1992 Saxophonist Stan Getz, owner of Trombonist Julian Priester is probably By the mid ‘60s, pianist Mal Waldron, The North Sea Jazz Festival in the Cellist Diedre Murray and bassist perhaps the most perfect sound in best known for his tenure in Herbie veteran of the bands of Billie Holiday, Netherlands is one of Europe’s Fred Hopkins were part of the same jazz history, was also stylistically Hancock’s Mwandishi band. But Charles Mingus and Jackie McLean, premier festivals, with a rich history generation of improvisers and first inclusive, the Picasso of jazz. By the some listeners may also know him for had shifted his base to Europe, of presenting American stars. There worked together in the ‘80s group of time of this album, recorded six work with Sun Ra and in recording all over that continent. The were few bigger names at the point of . This album is a sort months after Getz’ 30th birthday, he the late ‘50s and early ‘60s. In 1960 he ‘70s saw him expanding out to Japan this recording than trumpeter Freddie of followup to 1990’s Prophecy album was already an established leader and debuted as a leader and seven months as well, doing a number of sessions Hubbard, still strong after over two minus guitar and drums, leaving firmly in his breezy period, soon to later waxed this followup, his last with local players (and one in duo decades as a sideman and leader. This them as a duo for a concert recording switch to his bossa era. This is a recording under his name until 1974. with Gary Peacock). This album is a date features Hubbard fronting a at the FIMAV festival in Canada. The straight quartet album, Getz and a This session is somewhat of an allstar solo disc taken from a concert at The quintet of fellow Jazz Messenger alum eight pieces for the chamber-like rhythm section of date, with Walter Benton (tenor), Dug in Tokyo. Apart from George Dave Schnitter (tenor, flute), Billy pairing of low string instruments are (piano), (bass) and Charles Davis (bari), McCoy Tyner Gershwin’s “Summertime”, the rest Childs (keyboards), Larry Klein (bass) split between them, Murray penning (drums) playing a short (piano), (bass) and Art of the program is originals, including and Sinclair Lott (drums), playing six and Hopkins two, an eclecticism program of obscure tunes with the Taylor (drums) playing a mix of the intriguing “The Stone Garden Of Hubbard hits like “Red Clay” and and verve present in the spirit of their exception of “All the Things You Are”. originals and standards. Ryoanji”. Coltrane’s “Impressions”. former employer. NEW YORK’S ONLY HOMEGROWN JAZZ GAZETTE! • EXCLUSIVE CONTENT ON JAZZ AND IMPROVISED MUSIC IN NEW YORK CITY • COMPETITIVE & EFFECTIVE ADVERTISING: [email protected] • SUBSCRIPTIONS AND GENERAL INFO: [email protected] FOLLOW US ON TWITTER: @NYCJAZZRECORD WWW.NYCJAZZRECORD.COM

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